A corner is now any anchor that isn't smooth where two sides meet at an
angle, straight or curved, as in Illustrator. The cut meets each side at
its setback measured along the curve, leaves both sides along their
tangents there, and each curved side is trimmed to what the cuts at its
ends leave of it. The largest radius is still the one taking the cut
halfway along the shorter side, measured along the curve. Corners
between straight sides draw exactly as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The second half of #966. With Proportional Metrics on, a vertical segment is
also shaped top to bottom, with and without `vpal`: the difference gives
each glyph's change of advance down the column and its x and y placement.
An upright glyph (not tate-chu-yoko) in a font with vertical metrics takes
them on top of its cell, so it moves with its shorter cell; a font without
vertical metrics keeps `upright_cell`'s cell, and with the switch off
nothing is shaped twice and the column is as before.
As in horizontal type, Line-end Punctuation Half Width takes nothing more
off the punctuation `vpal` re-spaced and trims the punctuation it leaves
full height as before. Docs: mcp.md, and Proportional Metrics leaves the
missing lists in gaps.md, type-parity.md and target-app-parity.md.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The planar map merged sweep endpoints within eps into one vertex id but
kept each segment's own copy of the coordinates, so faces meeting at a
vertex could disagree on that corner by ~1e-13. Uniting them then failed
to cancel their shared edge, and a merged strip came back as several
touching subpaths whose stroke drew the inner edges as leftover lines.
Pin every edge's ends to its vertex's canonical position, so faces share
their corners bit for bit. Regression test from the reporter's grid.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Object › Lock › All Artwork Above and Object › Hide › All Artwork Above
lock or hide the objects that are above the selection in its layer and
overlap it. Such an object can be a group or a sublayer that holds
another selected object. The commands left that object selected, the
key object included. Align then moved the locked object, or aligned
the other selected objects to the hidden key object. object.lock and
object.hide clear the selection, and layer.setProps, which the Layers
panel's eye and lock columns run, deselects what it hides or locks.
Both commands now deselect every selected object that is locked or
hidden after the command, as layer.setProps does, and clear the key
object when it is one of them. Undo selects the objects again and
restores the key object.
Docs: the object.lock.above and object.hide.above params text,
docs/target-app-parity.md.
object.align, object.distribute and object.distributeSpacing moved
objects without their pattern tiles, whatever General › Transform
Pattern Tiles was set to. They now follow the preference as Move,
Nudge and the Selection tool do: with it on, pattern fills and strokes
move with the art. Each also takes a `patterns` param for one call, as
the transforms do. When the art uses a pattern, the journal records the
choice, and a recorded action plays back with it.
Docs: docs/mcp.md (transformPatternTiles), docs/target-app-parity.md.
object.setProps with visible: false or locked: true left the objects
it hid or locked selected, the key object included, and kept selected
objects inside a group or layer it hid or locked. Align then moved a
locked object, and aligned the other objects to a hidden key object.
object.lock and object.hide clear the selection, and layer.setProps,
which the Layers panel's eye and lock columns run, deselects what it
hides or locks.
After a call with visible: false or locked: true, object.setProps now
deselects every selected object that is then hidden or locked, as
layer.setProps does: the selected objects it hides or locks, selected
objects inside them, and selected objects that were hidden or locked
before the call. It clears the key object when the key is one of
them. Undo selects them again and restores the key object. A call
with visible: false or locked: true that changes nothing records no
undo step and still deselects them, as object.lock and object.hide
do. A call that sets neither, such as an opacity change from the
Control bar or the Transparency panel, leaves the selection as it is.
Docs: the object.setProps params text, docs/mcp.md, docs/target-app-parity.md.
object.align with neither horizontal nor vertical returned success
and moved nothing. The command palette, and a key bound to it in
Keyboard Shortcuts, run it with no params. It now returns
"give horizontal or vertical", as object.distribute already did.
An action recorded while Align ran from the palette or a bound key
contains an object.align step with no params. Playing that action now
fails at that step, and command.batch rolls back the whole action.
Values outside a parameter's choices were read as another choice or
ignored. Align ignored an unknown horizontal or vertical and aligned
to the selection for an unknown to value. Distribute read an unknown
direction as center. Distribute Spacing and Shear read any axis other
than "vertical" as horizontal, and Reflect read any axis other than
"horizontal" or a number as vertical. A bounds or to value that was
not a string fell back to the default, and a spacing that was not a
number gave automatic spacing. The commands now return an error that
names such a value, before they move anything or record an undo
step. When a to, bounds, axis or spacing value is missing or null,
the command uses the parameter's default: Distribute Spacing without
an axis spaces the objects horizontally.
The run_command description and docs/mcp.md showed object.align with
an align param it does not have; they now use horizontal. The new
status-bar messages have rows in the de, es, fr, it, ja, ru and uk
catalogs.
Docs: docs/mcp.md, docs/target-app-parity.md.
Align to Artboard aligned the selection to the artboard under its
center, or to the first artboard when no artboard was under the
center. A press with a selection tool inside an artboard makes that
artboard the active one (#693). With the Selection tool, a
Shift-click on an empty spot inside an artboard also makes it active
and keeps the selection. Align to Artboard did not use the active
artboard.
object.align takes artboard, a 0-based artboard index, and uses it
when its to param is "artboard". The app passes its active artboard,
the one the Artboards panel highlights, to each object.align it runs
that names none, as it does for Paste in Place, Paste in Front, Paste
in Back (#693) and Select › All on Active Artboard (#1006). MCP calls
in remote mode also get it. Without artboard (headless MCP and the
CLI), or with an index the document doesn't have, object.align aligns
to the artboard under the center of the selection, or to the first
artboard when no artboard is under the center.
command.batch takes artboard too, and the app passes it the active
artboard. The batch passes it on to each step of these five commands
that names none, when the step runs. When the document a step runs in
has no artboard at that index (for example, after an earlier step
deleted the active artboard when it was the last one), the step gets
that document's last artboard. A step in a document that an earlier
step opened, created or switched to gets the same index, not that
document's own active artboard.
With Align to Selection, one selected object aligned from the Align
panel, the Control bar or the Properties panel is aligned to the
active artboard too, unless it is the key object.
Recorded actions leave out the artboard that the app passes to these
commands and to the batch. The Actions panel plays an action as a
batch. Its Align to Artboard, All on Active Artboard and in-place
paste steps that name no artboard use the artboard that is active
when it plays, and the default Center on Artboard action now centers
on the active artboard. In-place paste steps recorded since #693 and
before this change still paste onto the artboard that was active when
they were recorded.
Tests cover object.align with and without artboard on three artboards;
a Shift-click that makes an artboard active, after which Align to
Artboard aligns to that artboard but keeps an artboard the call names;
a batch that passes its artboard to each step when the step runs,
after a step deletes the last artboard and in a new document; recorded
actions that leave the artboard out; and recorded Align to Artboard
and Paste in Place steps and the default Center on Artboard action,
which play on the artboard that is active when they play.
Docs: docs/mcp.md (Align to Artboard), docs/target-app-parity.md.
Selecting two objects, clicking one to make it the key object and then
Shift-clicking the other left the remaining object as the key. The
canvas still drew that object with the thick key-object outline. The
Align panel aligned the object to itself, so the object did not move.
The key is now cleared after any change that leaves no other selected
object outside it, such as a Shift-click, or hiding or deleting the
other object's row in the Layers panel. On a single selected object,
or on a group selected with only its own members, select.key sets no
key.
With one object selected and Align to Key Object chosen, the Align
panel, the Control bar and the Properties panel ran object.align with
to: "key", which fails with "no key object" when the selection has no
key. All three now align a single selected object to the artboard
whatever Align To is set to.
Docs: docs/target-app-parity.md.
With a document open, the desktop app ran File › Place on a swatch or
graphic style library, a Libraries panel file, a presets file or a
plug-in dropped on it. A desktop drop has no position, and without one
the app opened only documents and ran File › Place on every other file.
On the web, the app also ran File › Place on these files when they were
dropped on the canvas. File › Place can't read them, and the drop
failed with "Couldn't place X: ... not a format VectorCraft reads".
VectorcraftApp::drop_target now returns Open for these files, with or
without a drop position, and they open as File › Open opens them:
plug-ins are installed, presets are imported, swatch and graphic style
libraries open in the library panel, and a Libraries panel file is
added to the Libraries panel as a new library. A dropped library,
presets file or plug-in that has a path is added to Open Recent Files
when it opens, as File › Open adds it. io::opens_as returns the kind of
each of these files from its extension, and drop_target and
io::open_bytes both call it. The rules from #472 still apply to
documents, pictures and text. On the web the browser gives no file name
before the drop, so the app still outlines the canvas while such a file
is dragged over it.
Tests: drop_target returns Open for each of the eleven extensions, with
no position and with a position on the canvas. A .gpl dropped through
the desktop drop path loads in the library panel and is added to Open
Recent Files, and a .vclibrary dropped the same way becomes a new
library in the Libraries panel.
Docs: docs/control-protocol.md (file.place), docs/development.md
(Drag-and-drop), docs/target-app-parity.md (Evidence, UI).
Align and Distribute Spacing move a selected compound path or group as
one object, and they found the key object only when its own id was
among the objects they move. When the key was inside a compound path
or a selected group, aligning to the key moved that compound path or
group like any other object, and the key moved with it. In that case,
Distribute Spacing with a spacing held the first object still instead
of the key.
The key object can end up inside a selected group or a compound path.
Dragging its row into a group in the Layers panel (layer.move) keeps
the selection and the key. A Selection-tool Shift-click on that group,
when it is unselected and directly in a layer, then adds it to the
selection (select.toggle) and keeps the key. Other ways of adding the
group keep the key as well: a Shift-click in the Layers panel's
selection column or on the group's target circle, a Group Selection
click that hits the key itself, select.add, and select.anchors or
select.anchorsMany in add or toggle mode. In isolation mode, a
Selection-tool click on one of several selected objects in the
isolated group makes that object the key. In an isolated compound
path, the same click on the outline of a selected member makes that
member the key.
Align to the key object and Distribute Spacing with a spacing now keep
in place the selected object that is the key or contains it. Both
commands look for that object among the key and its ancestors, so a
group around the key's group also stays in place. Aligning to the key
still lines the others up with the key's own bounds.
Docs: docs/target-app-parity.md.
A character attribute (Character panel menu with the East Asian options;
`text.setFormat` / `text.setRangeStyle {proportionalMetrics}`), saved only
when on. In horizontal type it applies `palt`; vertical type sets as before
until the vertical shaping change (`vpal`) follows.
Line-end Punctuation Half Width takes nothing more off the punctuation
`palt` re-spaced (the flush opening bracket, consecutive punctuation, the
line-end half width): the segment is shaped once more without `palt`, and
the glyphs whose advance differs are marked. Punctuation the font leaves
full width is trimmed as before. SVG writes `"palt" 1` with the
character's other features.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After scaling 12 pt type 2x, the Character panel still showed 12 pt and
typing 10 pt gave 20 pt type. Character controls and text commands now
work in document points: the size, leading and baseline shift shown and
set are the stored ones times the text's scale along its em height, and
horizontal scale includes the ratio of the transformed em axes. Rotation,
reflection and shear stay in the transform, so text remains editable.
Groups' text counts, keyboard increments use the same units, Shrink
Text to Fit works in document tenths, and a collapsed transform rejects
dimensional edits without touching the document.
text.getRange takes effective: true for the document-space values.
- Guides on a hidden or locked layer leave the selection (Selection::prune,
run after every edit and selection change), their Layers rows neither
select nor drag them, and guide.move / guide.remove / guide.setLayer
refuse them; guide.setLayer refuses a locked target layer, as dragged
rows are refused there.
- A new guide goes where new art goes (the current layer, else the top
shown and unlocked one; refused when there is none), so it never lands
on a hidden layer and vanishes.
- Layer commands keep guides with their layers: Duplicate (and Alt-drag
copies of rows) copy a layer's guides onto the copy, Merge Selected and
Flatten Artwork put the merged layers' guides on the merged layer and
Flatten discards a hidden layer's. One shared doc predicate for "the
layer a guide is on"; the deleted-layer cleanup moves into the doc.
- Tests: engine tests for the above and their undo, a doc check that an
old guide reads with no layer and none is written, and a headless
Layers panel test of guide rows (select, drag to another layer, locked).
- Translations for the new message; docs and a ROADMAP progress line.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Eight raster effects on the pixel-filter pipeline
(vectorcraft_effects::pixel::brushstrokes), under a new Effect › Brush
Strokes submenu between Blur and Distort in the Raster Effects section:
- Accented Edges (edgeWidth pt 1..14, default 2; edgeBrightness 0..50,
38; smoothness 1..15, 5): the edges of the softened object painted
towards white chalk at high brightness or black ink at low brightness;
Smoothness also leaves the faint edges out. The shape stays as it was.
- Angled Strokes (directionBalance 0..100, 50; strokeLength pt 3..50, 15;
sharpness 0..10, 3): light areas in right diagonal strokes, dark areas
in left diagonal ones; 0 makes every stroke a left diagonal, 100 every
stroke a right diagonal. Sharpness brings detail and bristles back.
- Crosshatch (strokeLength pt 3..50, 9; sharpness 0..20, 6; strength
1..3, 1): the detail kept under pencil hatching along both diagonals,
Strength passes of it, the edges roughened.
- Dark Strokes (balance 0..10, 5; blackIntensity 0..10, 6;
whiteIntensity 0..10, 2): short strokes towards black in the dark
areas, long strokes towards white in the light areas.
- Ink Outlines (strokeLength pt 1..50, 4; darkIntensity 0..50, 20;
lightIntensity 0..50, 10): black outlines over the edges, ink hatching
in the shadows, shadows darkened and highlights lightened.
- Spatter (sprayRadius pt 0..25, 10; smoothness 1..15, 5): each pixel
shifted by noise up to 0.4 x the radius; Smoothness makes the grains
larger and smoother.
- Sprayed Strokes (strokeLength pt 0..20, 12; sprayRadius pt 0..25, 7;
strokeDirection Right Diagonal, Horizontal, Left Diagonal or Vertical):
strokes along the direction, scattered by up to 0.3 x the radius.
- Sumi-e (strokeWidth pt 3..15, 10; strokePressure 0..15, 2; contrast
0..40, 16): wet strokes, ink bleeding from the darks along paper
fibres, more ink with pressure and an S-curve contrast for rich blacks.
It works in value only: hues and saturation stay, and so does the
object's shape (no fringe in the transparency).
A stroke averages the colour along a segment through the pixel (16
samples at most, the art softened first when they lie more than a pixel
apart); strokes lie in rows around the object's centre, each row
starting at random and each stroke shifted along itself, with streaked
noise for the bristles. Everything is in document space, so the effects
look the same at any zoom or resolution, move with the object and draw
the same every time; outsets and reaches are exact. On a 2000 x 2000
raster in release the slowest settings take 0.3-2.0 s (Crosshatch at
50 pt with 3 passes the most).
Shared helpers instead of copies: edges::sobel (Glowing Edges now uses
it, unchanged), distort::displace and texture::Tones are pub(super).
Catalogue rows with parameter docs, menu entries, Sprayed Strokes'
direction dropdown, translations (de, es, fr, it, ja, ru, uk, zh-hans,
zh-hant; menu labels in cs and pt-br), tests (parameters and clamping,
outsets and reaches, each filter and option showing, chalk and ink on
the edges only, shadows and rich blacks, Sumi-e keeping the shape and
hues, hatching keeping the tone, strokes smearing along their direction,
Spatter's radius, resolution and move invariance, canvas, multithreaded,
PDF and SVG, the command sweep with junk parameters, the menu) and
ROADMAP.
Behaviour from public documentation only:
https://helpx.adobe.com/photoshop-elements/using/brush-stroke-filters.htmlhttps://www.computerhope.com/jargon/p/photoshop-sprayed-strokes.htm
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Progress docs per craftrules standards/progress-docs.md: target-app parity, gaps, roadmap with alpha gate, readiness by audience (full / mainstream / essentials) with Opus 5.5 hours, and feature, format, hardware, UI and localization parity docs.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
