A Perceptual linear or radial gradient that mixes spot colors with each
other or with CMYK or gray stops was written as an image in process
colors. It is now written as a DeviceN shading of its inks, with the
stops on its Perceptual curve: at each one, the inks of the two stops on
either side are mixed at the weight where the two colors mixed in
display RGB have the OKLab lightness of the color on the curve.
- Gradient::ink_mixes gives the curve's stops as weights between stops,
under the same 4,096-stop limit as ink_tints.
- Perceptual gradients that mix a spot color with RGB or Lab stops,
dithered fills and freeform gradients stay images, and the warning
now names those cases.
Baseline shift now moves a character in the line's frame, outside
Character Rotation, so a positive shift moves a character up from its
line at any rotation, and the character turns about its shifted pen
position. The Touch Type tool splits a drag into its part along the line
(kerning) and its part up from the line (baseline shift) at every
rotation; before, within about 6 degrees of a quarter turn it dropped
the cross-line part.
Characters that already combine a rotation with a baseline shift are
drawn in a new position. Their stored values do not change.
- text: glyph transform order, PositionedGlyph::pivot (the turning
point), tab leaders in the same order
- tools: Touch Type splits drags against the line's up axis and measures
rotate-handle turns about the shifted pen position
- engine: text.touchType description; dy is up from the line
- docs: mcp.md Touch Type paragraph, target-app-parity.md progress line
The Character panel's All Caps, Underline and Strikethrough buttons, and
its menu's All Caps, Underline, Strikethrough, Proportional Metrics,
Tate-chu-yoko and No Break, read the first selected character's style.
With only some characters marked they could show on, and choosing one
turned the attribute off for every character. They now show on only
when every selected character has the attribute, and a click on a mixed
selection turns it on for all, as Small Caps and Standard Vertical Roman
Alignment do. type.underline (Cmd+Shift+U) underlines a mixed selection
the same way. The Character Alignment and Digits submenus check no item
while the selected characters differ.
text.setFormat ignored a value that was not true or false for underline,
strikethrough, allCaps, proportionalMetrics, tateChuYoko,
standardVerticalRoman, noBreak, hyphenate, hyphenateCapitalized and
romanHangingPunctuation. It now refuses it with "`<key>` must be true or
false" and changes nothing, as text.setRangeStyle does.
An envelope in a .ai's editing data opened as its distorted art, with
its mesh and contents dropped. It now opens as a live envelope of its
contents: a warp with its style, bend, distortions and orientation, a
mesh with its points and handles, or a top object with its outline,
with Envelope Options, Fidelity and Edit Contents.
The envelope replaces its drawn art only when VectorCraft draws it like
that art, with a budget so that live envelopes don't make the file open
from its PDF part. When the layers still differ too much from the page,
the drawn art is put back. An envelope that can't be read, or that
draws differently, keeps its drawn art with a note. Envelopes of type
keep their drawn art and hidden type as before.
The editing data's layer options set a template layer from the flag four
places after the colour index. The colour index of nine-operand options,
and the colour index and dimming percentage of eleven and twelve operand
options, are read from their own places (they were read one place later).
A straight (N) * guide path directly on a layer that runs across the
whole canvas, or from edge to edge of one artboard, opens as a ruler
guide on that layer (an artboard guide of that artboard); other guide
paths stay guide paths. Guides scale with the document when its editing
data is in the units of a UserUnit page, and an EPS that keeps only its
first artboard keeps only that artboard's guides.
Fixes#779
addon.document.exportAllOpen {folder, format?} writes a copy of every
open document to one folder as Save a Copy does, each named after its
document with taken names numbered so no file is replaced. Documents
keep their paths and modified state, the active one stays active, and a
document that can't be written is reported while the others are still
written. Object > Plug-ins > Document Tools gets Export All Open
Documents as PDF and as SVG, which ask for the folder.
A new text_import_fuzz case builds a valid Word 97-2003 document (version
3 or 4 compound file, its streams in the mini stream or in FAT sectors),
checks that it places, and then damages the container itself: header
fields, the sector and mini sector shifts, FAT and mini FAT entries,
directory entry fields and stream sizes, single bytes, and truncation.
Session::execute turns a panic into EngineError::Internal, so the cases
in this file did not fail when an import panicked. They now go through
no_panic, as import_fuzz.rs does.
* ci: i18n report without a rebuild; PR print runs stop saving caches
- xtask ci: the i18n report selects the whole workspace as the test stage did. With
`-p vectorcraft-ui-egui` alone cargo resolved features differently and recompiled for about
3.5 minutes. `cargo xtask i18n-report` on its own still builds only that crate.
- print.yml: only main saves the desktop-print cache. Each PR saved its own 1.3 GB cache that
only that PR can read (6.3 GB across five PRs), pushing the repository past its 10 GB limit
and evicting caches main's gate restores.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* ci(xtask): i18n report selects the test run's targets too
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The test run builds --lib --bins --tests; a binary target's dependencies (the desktop app's
eframe features) could still resolve differently under --lib alone. Match the selection
exactly, and drop --quiet so a rebuild would show in the log.
* ci: leave print.yml unchanged
print.yml still runs its own jobs, and CLAUDE.md (CI workflows) keeps additions out of such files.
The cache churn it causes goes to craft-common-actions instead. This PR is now the xtask change only.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: FredApps <FredApps@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Double-clicking the Live Paint Bucket did nothing, and the tool always
filled on a click, stroked on Shift-click and highlighted in red at
4 px. It now opens Live Paint Bucket Options with Paint Fills, Paint
Strokes, Highlight, Color and Width.
- Paint Fills (on) and Paint Strokes (off) set what a click paints.
With Paint Strokes alone, a click strokes the edge within 4 px of the
pointer. With both on, a click strokes an edge within 4 px and
otherwise fills the face. With both off, a click paints nothing.
- Shift switches Paint Fills alone to Paint Strokes alone and back, and
switches both to Paint Fills alone. With the defaults, Shift-click
strokes the edge as before.
- Highlight turns the outline of the face or edge under the pointer on
or off; Color (a layer color or a custom color) and Width (1 to 20 px)
set it. With Paint Strokes alone, a selection of ordinary paths no
longer highlights a region, since a click there paints nothing.
- The options are tool options (tool.setOption {tool:
"livePaintBucket"}): they last across tool switches and are saved
with the preferences.
Docs: docs/mcp.md, docs/target-app-parity.md.
Character panel menu > Standard Vertical Roman Alignment, with Show East
Asian Options, is now a check item. It sets a new character attribute,
`standardVerticalRoman` (text.setFormat, text.setRangeStyle), off by
default and saved only when on. In vertical type the marked Latin
letters, digits and other characters that would lie on their side stand
upright one below the other, each in its upright cell. Spaces keep their
width and tate-chu-yoko blocks stay across the column. Horizontal type
keeps the mark and does not change. A combining mark shaped as its own
glyph turns with its letter, in Latin and CJK upright type alike.
Character Style Options labels the Character Alignment row "Character
Alignment" and gives Standard Vertical Roman Alignment its own checkbox.
Reset Panel turns the attribute off. PDF and SVG export place the glyphs
from the layout and need no change.
A Perceptual linear or radial gradient was always written as an image,
so a gradient of spot ink tints lost its plate, and no warning named the
spot ink.
PDF export now writes a Perceptual gradient whose stops are tints of one
spot color (and paper white) as a Separation shading in that ink. Its
tints follow the gradient's curve: at each stop the renderer places on
the curve, the tint with the OKLab lightness of the color there.
Dithered fills, freeform gradients and Perceptual gradients that mix a
spot color with other colors are still images, and the export now warns
when such a gradient has stops linked to a spot swatch that its spot
colors are written in process colors.
Make Opacity Mask expands a layer among its targets to the art that can
be edited: an object in a sublayer of a hidden or locked layer, or on a
locked artboard, is neither the mask nor masked, so it stays where it is.
Make Opacity Mask took the topmost target as the mask. When that target was
a layer (a targeted layer above the art, or `ids` ending in a layer id), the
whole layer was removed from the layer tree and became the mask art. A layer
on top now stands for its visible, unlocked art, as a layer below the mask
already does: its topmost object is the mask and the rest of its art is
masked with the art below. A top layer with no such art is refused and the
document is left unchanged.
print.yml still runs its own jobs, and CLAUDE.md (CI workflows) keeps additions out of such files.
The cache churn it causes goes to craft-common-actions instead. This PR is now the xtask change only.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
BFlat