Messhias is right that a sampled check cannot promise a run is straight, and my
own write-up overstated what the grid did: I said the fit was "used only where
it reproduces the real map", which five sample positions cannot establish. A
bend narrower than the sample spacing passes between the samples, and the grid
then approves an affine that is simply wrong.
It is not a theoretical gap. A zigzag of amplitude 4 pt and half-period 20 pt,
turning 11.3 degrees (under CORNER_DEG, so the vertices are not corners and
their tangents blend flat), lands its y = 0 vertices exactly on the five sample
positions. All 25 grid points then agree with the affine to the last digit while
the art between them is thrown 4.000 pt off, against the 0.0613 pt tolerance the
grid believed it was enforcing: 65 times over, measured, not estimated.
`Track::is_straight(s0, s1)` reads the answer off the track instead. A bend in
the span is two segment directions that differ, so no bend can hide in it
whatever its size. It also checks the vertex tangents, because `frame` blends
them across a segment unless the vertex is a corner, so a neighbour outside the
span can bend the tangent inside it: directions alone would call `d, d, e`
straight over the first two segments and be wrong. It fails closed on a closed
track's seam, a non-finite bound and a track with no segments.
`AlongMap::is_linear` covers the other half: Between Guides bends the arc-length
map itself, which no amount of looking at the track would reveal.
The grid stays, demoted to a second opinion that can reject and never admit, and
`affine_fit`'s doc comment now says that rather than claiming to be the gate.
Tests. `a_bend_shorter_than_the_sample_grid_is_still_a_bend` builds the zigzag
above, asserts the sampled check accepts it, measures how far out the approved
affine is, and then asserts the track-based gate refuses it; end to end through
`bend` it asserts the aliased bend is subdivided while a genuinely straight run
of the same span keeps the tile's four anchors. Restoring the sampled gate reds
it with `the aliased bend is subdivided, not affine-mapped: 4 anchors`, so the
old code really did lay a flat tile along a waving track.
`straightness_is_read_off_the_track_not_sampled` covers the predicate directly:
collinear segments and their extrapolation, a 0.2 pt detour, a span around it
and a span before it, the blended-tangent case above, the closed seam and a NaN
bound. Writing it caught a bug in my own guard: `f64::min` discards a NaN rather
than propagating it, so `is_straight(NAN, 10.0)` was reporting straight until
the finiteness check moved ahead of the min/max.
FredApps noted a real divergence: the affine route kept whatever the tile held
(it only required bounds) while warp_node drops every node kind but paths,
groups, layers and compound paths, and it did not clear `live` on paths. For a
tile of paths and groups the result was the same, so nothing was visibly wrong,
but "this changes the curves and nothing else" was a wider claim than the code
made: a symbol instance arrived untouched on a straight run and vanished on a
bend.
affine_node now mirrors warp_node's walk through `prepared` and applies one
transform at the end: the same kinds are kept and the rest dropped, `live` is
cleared on every path, an empty path or a group left with no children is
dropped, and strokes are scaled by `width_scale` rather than by the transform's
own factor. The two routes now differ in the tile's curves and in nothing else,
which is what the change was always meant to be.
Test: a_straight_run_keeps_the_same_node_kinds_as_a_bend puts a symbol instance
beside a path in one tile and asserts both routes return the same kinds. On the
old code it reds with `left: ["group", "path", "symbol"] right: ["group",
"path"]`.
Bending flattens every path it maps: warp_path runs kurbo::flatten and
emits SubPath::polyline, so a circle tile is drawn as a polygon. That
shows in the live stroke, not only after Expand Brush Strokes, and it
happens even on a perfectly straight path where the tile needs nothing
more than an affine.
Bending is only non-linear where the track bends. On a straight run the
arc-length map and the normal offset are both linear, so affine_fit
derives the affine from three corners of the art and then checks it
against a five by five grid, including those corners. Within the
tolerance the flattening would have used, the art is transformed
instead, which keeps its Beziers. Outside it, nothing changes: the old
path runs and the result is what it was.
Strokes are scaled by the same factor the bent path uses rather than by
the affine's own, so curves are the only thing this changes.
Corner tiles already took this route, which is why they kept their
curves while the tiles between them did not.
Two existing tests moved with it, both because they read anchor counts
that only held while straight runs were flattened:
pattern_places_corner_tiles told corner tiles from side tiles by
"four anchors", true only because the side rectangles arrived as
polylines. It now tells them apart by a kept handle, which is what
actually distinguishes an ellipse from a rectangle, and additionally
asserts the side tiles keep their own four anchors.
pattern_output_is_capped_across_subpaths_not_only_per_run counted on
sixteen tracks passing the #3594 anchor budget. A tile is about four
times cheaper in anchors now, so the budget engages later; the test
derives how many tracks it needs from what one costs.
On a corner whose legs are too short for the side tile, the tile is
squeezed along the path but its stroke keeps its width. The mask round
each slice was squeezed with the tile, so it cut off the stroke at the
slice's far end. Its margins along the tile now grow by as much as the
tile is squeezed.
Pattern Brush Options has a menu below the Outer Corner Tile and the Inner
Corner Tile. Each can be the brush's own corner art (Original), None, or one
of four tiles made from the side tile at each corner of the path:
- Auto-Centered stretches one side tile around the corner, centered on it.
- Auto-Between bends a side tile on each side into the corner, the two
meeting on the corner's diagonal.
- Auto-Sliced lays a side tile on each side past the corner and masks it
at the diagonal, so the two meet like a mitered frame.
- Auto-Overlap lays a side tile on each side past the corner, overlapping.
The tiles are straight at the corner and follow the path towards the side
tiles, so they meet a curve that runs into the corner. A side tile taller
than the corner can reach is stretched along until the two sides meet. On a
short path, a corner's tile is squeezed along so that it covers at most the
path up to an open path's end and half way to the next corner, and its two sides still meet on the
corner's diagonal.
The definition stores the choice as `outer_source` and `inner_source`
(`none`, `autoCentered`, `autoBetween`, `autoSliced`, `autoOverlap`), which
`brush.options` sets. Corner art wins over a source. A brush saved without
a source draws as before: a kind of corner without art takes the other
kind's art. None leaves that kind of corner empty.
Docs: docs/mcp.md, docs/target-app-parity.md.
Art Brush Options' Width had no pen tablet option, so an art brush
drew at one width whatever the pressure. The Width row now has a
Fixed or Pressure menu and a second width. With Pressure the art is
Width wide at the lightest pen pressure and the second width at the
heaviest, following the pressure the Paintbrush recorded along the
stroke, and half way between the two on a stroke drawn without
pressure. brush.options takes width_mode and width_max; a brush
without them is saved as before.
The Symbol Stainer mixed the color of type characters painted with a
global swatch but kept the swatch name and tint, so the characters'
paint named a swatch whose color it no longer had, and a later edit of
the swatch could put the unstained color back. Their fill and stroke now
become plain colors, as a path's paint does.
Pattern tiling and scatter cap each factor on its own: 20,000 tiles a
run, MAX_SUB subdivisions a segment, 20,000 copies a track. Those caps
are per track, and a path has as many tracks as it has subpaths, so
they multiply rather than bound.
The audit called the end-to-end impact unverified, so it was measured.
A pattern brush on parallel lines, each long enough to want more tiles
than a run allows:
1 subpath 20,000 nodes 320,000 anchors 36 ms
4 subpaths 80,000 nodes 1,280,000 anchors 142 ms
16 subpaths 320,000 nodes 5,120,000 anchors 571 ms
Exactly 20,000 nodes a subpath, linear with no ceiling. Scatter is the
same shape.
MAX_ANCHORS bounds the total for one brushed stroke, threaded through
both. It is 2,000,000, the figure the stacked-effects budget already
uses (effects::distort::MAX_COPY_ANCHORS, #3578), and bounded the same
way: per stroke rather than per document. One track at its own cap is
well inside it, so the budget bites only where the caps were
multiplying; sixteen subpaths now stop at the budget in 113 ms.
A piece is taken whole or not at all, so art is never half-drawn. The
walk that counts an art tile's anchors is iterative, and a tree it
cannot finish within MAX_WALK nodes is charged the whole budget rather
than undercounted, so nesting buys no room.
The per-factor caps are untouched: the issue asks for a total, and
changing both at once would hide which one did the bounding.
A scatter brush whose art held type drew the type in its own colors
whatever the brush's colorization: Tints, Tints and Shades and Hue
Shift recolored the art's paths but not its characters. The Key Color
list in Brush Options left the type's colors out as well.
Colorization now maps the solid fills and strokes of each run of type
in the art as it maps the fills and strokes of paths. The Key Color
list, whose first color is Hue Shift's default key, counts each run's
fill, and its stroke when the stroke is wider than 0. The Symbol
Stainer now mixes the characters' strokes of type toward the stain,
as it already mixed their fills.
Docs: docs/target-app-parity.md.
brush.new and brush.options refused a Hue Shift colorization given
without a key color ("invalid brush: missing field `key`"), and only
Brush Options picked a default. The reference app's Brushes page says
that by default the key color is the most prominent color in the art.
A Hue Shift colorization without a key now takes the solid color that
the art's fills and strokes use most, the first one found on a tie, or
black when the art has no solid color, as Brush Options already does.
Brush definitions read from a document get the same default.
brush.options replaced each field its params named, so an edit that
gave only the colorization method or only an art brush's start guide
was refused because the key or the end guide was missing. It now
merges colorization and an art brush's scale field by field.
Docs: docs/mcp.md, docs/target-app-parity.md.
A scatter brush whose art is an instance of a symbol stroked with that brush, or any brush whose
art is painted with a pattern whose tile is stroked with it, drew itself without end: a stack
overflow in a hand-written native file. Brush pieces already strip the brushes of their own
strokes; now what they draw by name that would draw a brushed stroke (a symbol instance, or a
pattern paint, also through the symbols and patterns those use) is left out too, in one place
(`stroke_pieces`, which every renderer and exporter calls with the document).
Probed the rest of item 2 of the depth follow-up with hand-written hostile inputs, kept as tests:
graph designs of deep art and of a symbol holding itself, Affinity groups nested to and past
both of its reader's caps, DXF blocks inserting themselves, EMF/WMF saving states without end,
and plug-in manifests and output nested 30,000 to 100,000 deep. None of them overflowed.
Every edit of an object copied its whole appearance (its fills, strokes and effects, about
540 bytes for a basic object) into the new node, though a move leaves it as it is. Over 45
whole-selection moves of 10,000 paths, undo history grew by 589 MB; now 349 MB (41 % less), and
a nudge or a drag of the selection takes 12 ms instead of 15.
- Node::appearance is a vectorcraft_doc::Shared<Appearance>: copy-on-write. A clone shares it,
and the first change through DerefMut copies it (Arc::make_mut). Reads, writes, equality (also
against a plain Appearance) and the saved form are those of the Appearance itself, so call
sites read and change it as before. Sites that build or assign a whole appearance add .into(),
and the few that need a plain copy take (*n.appearance).clone().
- Node::transform changes the appearance only when it has gradients to transform, and pattern
paints are transformed only when there are some: a move no longer copies an appearance it
doesn't change.
The workspace suite (5,301 tests) and clippy pass with the change; the doc and engine suites
pass again after the transform guard.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01VmMmc1J8XeNLxhRihWv9cc
Double-clicking a Scatter, Art or Pattern brush in the Brushes panel (or the
panel menu's Brush Options...) now opens its options dialog, as Calligraphic
and Bristle brushes already did. OK runs brush.options and every stroke
painted with the brush redraws.
- Scatter Brush Options: Name; Size (10-1000 %), Spacing (10-10000 %),
Scatter (-1000-1000 %) and Rotation (-180-180 deg), each Fixed (the first
value), Random (between the two values) or Pressure (the first value at
the lightest pen pressure, the second at the heaviest); Rotation relative
to Page or Path. Scatter brushes now keep these modes (`modes`); brushes
saved before keep their look (Random where the two values differ).
- Art Brush Options: Name; Width (1-1000 %); Scale Proportionately, Stretch
to Fit Stroke Length or Stretch Between Guides with the guides' Start and
End (% of the art length); the four Directions; Flip Along and Across.
- Pattern Brush Options: Name; Scale (1-10000 %), Spacing (0-10000 %); the
five tiles (Outer Corner, Side, Inner Corner, Start, End) drawn with their
art or None; Flip Along and Across; Stretch to fit, Add space to fit or
Approximate path.
- All three: Colorization (None, Tints, Tints and Shades, Hue Shift with its
Key Color picked from the art's colours, the most used one by default) and
a live preview of a stroke painted with the edited brush.
Brush definitions from files and commands are now kept within these ranges
(Brush::sanitize, also for Calligraphic and Bristle values); unknown modes,
directions, fits or colorization methods are refused. The brush.options and
ui.brushOptions docs list the new params and fields. Tests: the brush model
(modes, pressure, sanitizing, art colours), engine params reaching the
brush and strokes redrawing, junk params in command_sweep, and headless
dialog tests for each dialog.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Double-clicking a brush in the Brushes panel (or the panel menu's Brush
Options…) opens its options. Calligraphic Brush Options: Angle,
Roundness and Size, each Fixed, Random or Pressure with its Variation,
over live previews of the nib and of a stroke. Bristle Brush Options:
Shape and the bristle sliders. OK runs brush.options; strokes painted
with the brush update.
The Paintbrush records the pen pressure along a stroke (path.freehand
takes [x, y, pressure] points), and a Calligraphic brush with Pressure
variation changes its nib along the stroke, from the value less the
variation at the lightest pressure to the value plus it at the heaviest.
Brushes saved before keep their Random variation. Pen pressure doesn't
reach the app on macOS yet (winit 0.30 reports none there).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Symbol instances export as one <symbol> def per symbol and a <use> per
instance. An instance the def can't stand for exactly (stained by its fill,
or a transform under which the canvas paints differently: scaling with
strokes, effects or live objects, turning with effects or brushes, any move
with pattern paints or unlinked masks) is written as its own art, now
stained like the canvas and with its patterns and unlinked masks left on
the page. Symbols nested in themselves stop at a fixed depth.
New SVG option hiddenLayers keeps hidden layers as display:none groups;
document.save (and Save As / Save a Copy) turns it on unless told
otherwise, exports leave hidden layers out. Import shows display:none
layer groups to usvg and marks them hidden, so they reopen hidden
(groups a <use> refers to stay templates). File Info metadata goes through
one Dublin Core list. The symbol stain helper moves to vectorcraft-brush
so the renderer and the SVG writer share it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Shipped code no longer unwraps, expects or panics: every one of the 124
unwrap()/expect()/panic!/unreachable! sites outside tests now handles the
failure (Result/Option, ?, let-else, defaults) and reports errors to the user.
- Lints: workspace clippy denies unwrap_used, expect_used, panic, todo,
unimplemented and unreachable; clippy.toml allows them in tests, and
integration tests, examples and testkit opt out explicitly.
- Safety net (vectorcraft_engine::guard): a panic in a top-level command rolls
the document back and returns EngineError::Internal; a panicking tool is
reset; the MCP server answers with an internal error and keeps serving; the
UI frame and each control request are guarded.
- APIs that hid failures now return them: Rendered::to_png/to_jpeg/to_webp
return Result (JPEG/WebP errors used to write empty files),
FontDb::face returns Option, Region::top returns Option.
- Fuzzing: engine/tests/import_fuzz.rs feeds garbage, hostile and mutated SVG
and PDF through import → render → export (30k cases locally, no panics).
- Docs: AGENTS.md/CLAUDE.md rule, docs/development.md "Robustness" section,
README pointer and a PR template checklist.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A colour linked to a global or spot swatch keeps a tint (Paint::Solid.tint, 1 by default and
left out of files at 100 %): paint.setFill/setStroke {swatch, tint} apply the swatch at that
percentage, swatch edits recolour every linked colour at its own tint, and Color::tinted
resolves it (CMYK and Gray inks scale, RGB mixes toward white). swatch.new saves a tint as a
tint swatch ("Ink 40%") linked to its base. Spot tints separate as that percentage of their
plate (Separations Preview, PDF Separation value) instead of an ink-ratio guess. Adjust Color
Balance's Global mode (tint) shifts the tints of linked colours. The Color panel shows Tint
mode (the swatch chip, its name and a T slider) for linked colours; the Swatches panel
highlights the tint swatch in use. Gradient stops get the same link and tint fields (the
swatch walks cover them), so GradientStop is no longer Copy.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A group's or layer's own fills and strokes paint every member's geometry, below or above the
members as the new contents slot (Appearance.contents_index) says; its geometry effects reshape
the members as one piece and its raster effects apply to the composite (one combined shadow),
respecting knockout groups. Type's own fills and strokes paint under or over its characters.
Render, SVG/PDF (via bake) and Expand Appearance evaluate them alike.
Commands: appearance.* / effect.* take target: "object"|"contents" and layer ids;
appearance.moveItem moves the Contents slot (from: "contents") or an item across it
(contents); appearance.targetContents selects a group's members. Graphic styles applied to a
group now style the group itself. The Appearance panel shows Contents/Characters rows that
drag, and double-click to target the members or edit the characters' paint.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Muhammad Saad