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Merge remote-tracking branch 'upstream/main' into fix/remaining-type-envelopes
# Conflicts: # docs/file-format-parity.md
This commit is contained in:
jmverges
@@ -1,6 +1,6 @@
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# File format parity
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> **Last reviewed:** 2026-10-10 · **Last updated:** 2026-11-12 · **Change:** minor (`.ai` and EPS import: type in an envelope with Distort Appearance is also tried mapped from the box of what it paints, its strokes' miter tips and strokes a Transform effect moves included, after its glyphs grown by half its strokes' weight, #6824; #6865: explicitly requested oversized editing artboard; PDF import: Indic type keeps its marks on their line, and a line whose type would not draw as the file does keeps the file's glyphs as outlines, #5235; previously: newly imported SVG/SVGZ titles are filtered and bounded without changing restored titles, #3626; `.ai` and EPS import, and what every export and `.ai` save draw: type's strokes in an envelope paint at their own weight along its bent outlines, Distort Appearance on or off, #6644; `.ai` and EPS import: centred and right-aligned lines of tracked type are aligned without the tracking after their last character, as the file's page aligns them, #6610; `.ai` and EPS import: an envelope saved in Edit Contents whose mesh lies away from its drawn art by a move opens live on that art, #6570; `.ai` save and open: layer colour presets Yellow, Magenta and Cyan keep their colour, as the `Lb` colour index now follows the file's numbering, #6502; `.ai` save: stroked type keeps its stroke's cap, join and miter limit in the text document, #6472; `.ai` and EPS import, PDF import: tracking and manual kerning in horizontally scaled type take the Horizontal Scale, as the file's page spaces such type; `.ai` and EPS import: stroked type in an envelope maps from its glyphs grown by half its stroke, #3179; `.ai` and EPS import: warps of type open as mesh envelopes on their saved grid, #3179; `.ai` and EPS import: stroked type keeps its stroke's cap, join and miter limit from the text document, #6472; `.ai` save: type in a variable font's named instance names its design-space setting, #6388; `.ai` and EPS import: envelopes of type open live where they draw as their drawn art and the layers with them draw as the page, #3179; `.ai` and EPS import: a note for type in an envelope, #3179; `.ai` and EPS import: the live envelope and warped type check sees white art; PDF import: DeviceN images of one ink or of process plates keep their inks, #6348; `.ai` import: images in a spot ink's Separation space keep their ink, #6350; PDF import: Separation images keep their ink, #6314; PDF editable import preserves authored ActualText once, including empty/nested spans and authored ordering (#6165); cross-line/style layout remains approximate; scores and estimates unchanged; PDF marked-text export (#6309): compatible glyphs stay on one layout line with per-glyph offsets; scores and estimates unchanged; PDF import: image masks open colorized by the color they are painted in, #6313; EPS and `.ai` editing data: a ligature the page names by a private-use glyph matches its text object; EPS import: CIDFonts only named, over a Unicode CMap, set as live type; EPS import: CMap mappings to base-font codes and glyph names; EPS import: CID-keyed fonts in FontSets (CFF) draw their glyphs; EPS import: `kshow` procedures kern live type; EPS import: embedded Type 1 fonts' glyphs and widths; EPS import: CID-keyed fonts draw their glyphs; EPS import: Type 42 fonts' characters and widths from the font they carry, show operators' spacing kept as tracking; EPS import: an image decoder's own buffers stop counting against the memory budget once it is decoded; EPS import: sampled functions interpolate between their samples; `.ai` and EPS type from the text document keeps its tab stops; it keeps auto leading and hyphenation options, and may show more of the file's last lines in an area frame; `.ai` and EPS import: Art brushes in the older form of their objects come into the Brushes panel; EPS import: gradients drawn as abutting strips come in as one gradient, without seams; EPS import: composite fonts draw their Type 42 glyphs; SVG import: filter and mask regions clip, #5876, #5875; SVG import: Gaussian blurs keep `color-interpolation-filters`, #5877; PDF and `.ai` export: objects' URLs as links, #5785; SVG import: `color-interpolation="linearRGB"` gradients, #5878; `.ai` import: paths with a Calligraphic brush open brushed, #372) · **Target:** Adobe Illustrator 2026 (30.x)
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> **Last reviewed:** 2026-10-10 · **Last updated:** 2026-11-12 · **Change:** minor (`.ai` and EPS import: type in an envelope with Distort Appearance is also tried mapped from the box of what it paints, its strokes' miter tips and strokes a Transform effect moves included, after its glyphs grown by half its strokes' weight, #6824; `.ai` and EPS import: type filled or stroked with a pattern swatch keeps its pattern, from the art style its text document paint names, #6856; #6865: explicitly requested oversized editing artboard; PDF import: Indic type keeps its marks on their line, and a line whose type would not draw as the file does keeps the file's glyphs as outlines, #5235; previously: newly imported SVG/SVGZ titles are filtered and bounded without changing restored titles, #3626; `.ai` and EPS import, and what every export and `.ai` save draw: type's strokes in an envelope paint at their own weight along its bent outlines, Distort Appearance on or off, #6644; `.ai` and EPS import: centred and right-aligned lines of tracked type are aligned without the tracking after their last character, as the file's page aligns them, #6610; `.ai` and EPS import: an envelope saved in Edit Contents whose mesh lies away from its drawn art by a move opens live on that art, #6570; `.ai` save and open: layer colour presets Yellow, Magenta and Cyan keep their colour, as the `Lb` colour index now follows the file's numbering, #6502; `.ai` save: stroked type keeps its stroke's cap, join and miter limit in the text document, #6472; `.ai` and EPS import, PDF import: tracking and manual kerning in horizontally scaled type take the Horizontal Scale, as the file's page spaces such type; `.ai` and EPS import: stroked type in an envelope maps from its glyphs grown by half its stroke, #3179; `.ai` and EPS import: warps of type open as mesh envelopes on their saved grid, #3179; `.ai` and EPS import: stroked type keeps its stroke's cap, join and miter limit from the text document, #6472; `.ai` save: type in a variable font's named instance names its design-space setting, #6388; `.ai` and EPS import: envelopes of type open live where they draw as their drawn art and the layers with them draw as the page, #3179; `.ai` and EPS import: a note for type in an envelope, #3179; `.ai` and EPS import: the live envelope and warped type check sees white art; PDF import: DeviceN images of one ink or of process plates keep their inks, #6348; `.ai` import: images in a spot ink's Separation space keep their ink, #6350; PDF import: Separation images keep their ink, #6314; PDF editable import preserves authored ActualText once, including empty/nested spans and authored ordering (#6165); cross-line/style layout remains approximate; scores and estimates unchanged; PDF marked-text export (#6309): compatible glyphs stay on one layout line with per-glyph offsets; scores and estimates unchanged; PDF import: image masks open colorized by the color they are painted in, #6313; EPS and `.ai` editing data: a ligature the page names by a private-use glyph matches its text object; EPS import: CIDFonts only named, over a Unicode CMap, set as live type; EPS import: CMap mappings to base-font codes and glyph names; EPS import: CID-keyed fonts in FontSets (CFF) draw their glyphs; EPS import: `kshow` procedures kern live type; EPS import: embedded Type 1 fonts' glyphs and widths; EPS import: CID-keyed fonts draw their glyphs; EPS import: Type 42 fonts' characters and widths from the font they carry, show operators' spacing kept as tracking; EPS import: an image decoder's own buffers stop counting against the memory budget once it is decoded; EPS import: sampled functions interpolate between their samples; `.ai` and EPS type from the text document keeps its tab stops; it keeps auto leading and hyphenation options, and may show more of the file's last lines in an area frame; `.ai` and EPS import: Art brushes in the older form of their objects come into the Brushes panel; EPS import: gradients drawn as abutting strips come in as one gradient, without seams; EPS import: composite fonts draw their Type 42 glyphs; SVG import: filter and mask regions clip, #5876, #5875; SVG import: Gaussian blurs keep `color-interpolation-filters`, #5877; PDF and `.ai` export: objects' URLs as links, #5785; SVG import: `color-interpolation="linearRGB"` gradients, #5878; `.ai` import: paths with a Calligraphic brush open brushed, #372) · **Target:** Adobe Illustrator 2026 (30.x)
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>
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> Oversized artboard import update (2026-11-12): Explicit editing-data import retains a single artboard beyond a capped 14,400 pt PDF page (#6865).
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@@ -56,7 +56,10 @@ private editing data. VectorCraft:
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own paints with the paint before the mask's dictionary, as the writer leaves out paint that doesn't change.
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Type from the text document keeps auto leading as auto, each line taking the paragraph's share
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(Auto Leading) of the largest type on it ([Line and character spacing](https://helpx.adobe.com/illustrator/using/line-character-spacing.html)),
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and the paragraph's hyphenation options and tab stops. Stroked type keeps its stroke's cap, join and miter limit. Area type of one
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and the paragraph's hyphenation options and tab stops. Stroked type keeps its stroke's cap, join and miter limit. Type filled or
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stroked with a pattern keeps its pattern, placed in the document as a path's pattern fill would be: a character's paint names
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an art style of one paint, and the pattern is in that style (its colour in the text document is black). A pattern the file
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doesn't define, or a style that isn't a pattern, keeps the colour as before. Area type of one
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frame whose last lines the file sets but which don't fit here (the fallback font, or a descent
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past the frame's bottom) may get a frame taller from its bottom, by its lines' deepest descent plus 0.05 pt and only when that shows more of those lines, with a warning when it does.
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RGB in the PDF page's `ICCBased` spaces keeps the file's numbers in a `.ai` (the `uncalibrated_rgb`
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@@ -268,7 +271,7 @@ Names in the editing data that aren't UTF-8 (layers, objects, artboards, colors,
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| PDF | open, place, save | yes (authored ActualText in editable import, #6165; layers, masks, editable text, security, overprint, File Info from the XMP packet and the document information dictionary; Crop To › Trim takes the bleed box as the document's bleed) | yes (presets, PDF/X-1a/3/4, layers, marks and bleed, ICC, fast web view, 1.3+; objects' URLs as link annotations, not in PDF/X) | fuzzed import; shared guarded writer and windowed reader ([pdf-backend.md](pdf-backend.md)), metadata, incomplete-content and dependency-source regressions; PDF text opens where the file draws it, glyph by glyph (#722: kerning or none, spacing per character, text rise as baseline shift, vertical writing, justified text boxes); alpha soft masks drawn as images import with the mask (#1551); a clip only counts as covering the page when its shape does (#1542); a PDF another app copied pastes as editable vector art (#1499); letter-spaced type on a path keeps its length and its glyph-by-glyph stroke comes in as one text object (#1586, #1585); a crafted name tree with shared nodes no longer takes exponential time on open (#1781); fonts named with hyphens (`Noto-Sans-Bold`) or with a composite font's CMap (`Name-Identity-H`) find the installed family; invisible text (rendering mode 3: a scanned page's recognized text) opens as type with no fill or stroke and saves back as invisible, searchable text (#2675); PDF/X-1a and X-3 flattening in a CMYK document keeps CMYK inks where it rasterizes (#2160); an image mask (`/ImageMask true`) painted in a solid color opens as a grayscale image colorized by that color, a spot color keeping its swatch and tint, so Fill and Recolor Artwork reach it, and the same mask painted again in another color keeps that color (#6313); an image in a Separation space opens as a grayscale image of its tints colorized by its ink at 100 % (a spot swatch, a process plate or Registration), its soft mask as its opacity mask (#6314); a DeviceN image of one colorant opens the same way, and one of process plates only (the ink `None` may be among them) opens in CMYK with each colorant's tint in its plate (#6348) PDF export keeps harakat and zero-advance Noto Arabic dot glyphs in one compatible batch per layout line, with per-glyph vertical offsets (#6309). `crates/pdf/src/tests/realtext.rs` (`mark_text_*`) checks decoded cluster mappings, mixed Arabic/Latin/digits, contour placement against outline export, vertical columns, differing path rotations and PDF/X-1a/3/4. Editable-text import preserves authored ActualText separately (#6165), with cross-line/style layout limits; separately styled or differently rotated clusters and external viewer search/copy remain outside this export-only evidence. |
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| EPS | open, place, save | yes (own PostScript L3 interpreter, Illustrator EPS editing data structure) | yes (L2/L3, TIFF previews) | CIDFonts the file doesn't carry not drawn, but for those over a predefined CMap (`UniJIS-UCS2-H`, `90ms-RKSJ-H`, `GBK-EUC-H`, `KSCms-UHC-H`, `ETen-B5-H`), set as type in the font of the CIDFont's name, vertical over a `-V` CMap; a name that ends in the row-and-cell CMap `H` or `V` splits off the CMap only when the file defines the CIDFont of that name, or the name has a hyphen and an installed face that covers Japanese has it; name-keyed fonts in a FontSet set as type by name; #505; images encoded with `CCITTFaxDecode` (ITU-T T.4 Group 3 and T.6 Group 4, with `K`, `Columns`, `Rows`, `EndOfBlock`, `EndOfLine`, `EncodedByteAlign` and `BlackIs1`) draw, and damaged data keeps the rows decoded before its first damaged row; Type 42 (TrueType) fonts set type at its size (#1553); an embedded Type 1 font's encrypted part is read for its glyphs, which space its type, outline it and draw glyphs without a character, in plain and composite fonts; a Type 42 font that carries its TrueType font gives each code its character by its glyph name or, for names that say nothing (`/g12`), by the glyph's entry in the font's own character map, spaces its type by its own widths and draws glyphs that stand for no character from its outlines; the show operators' spacing along the baseline (`ashow`, `widthshow`, `xshow`, `yshow`, `xyshow`, and the moves of `kshow`'s procedure, run between each two characters) is kept on live type as tracking, so type in a font that isn't installed keeps the file's line lengths (spacing that moves characters off the baseline, as `yshow`, `xyshow` or a `kshow` procedure can, places each character as its own text object); composite (Type 0) fonts with the 8/8 mapping, as PDF-to-PostScript converters write two-byte fonts, draw a Type 42 descendant's glyphs from the TrueType outlines it carries and an embedded Type 1 descendant's from its charstrings, and set other descendants' characters as type at the composite font's size (other mappings are still set as type in the font of their name); CID-keyed fonts (`composefont`, `FMapType` 9 over a CMap built with the CIDInit operators or `Identity-H`/`Identity-V`; `bfchar` and `bfrange` mappings give a base-font descendant its codes or glyph names) draw the glyphs of the Type 0 CIDFonts (Type 1 charstrings in their `StartData` binary data or `GlyphDirectory`) and Type 2 CIDFonts (TrueType glyphs through `CIDMap`) they carry, and the CID-keyed fonts of a FontSet's Compact Font Format data (Type 2 charstrings); a clip only counts as covering the page when its shape does (#1542); an EPS another app copied pastes as editable vector art (`clipboard.importEps`, #1499); a stitched shading keeps its hard colour changes on import (#1654); sampled functions (type 0) interpolate between their samples, multilinearly or by cubics with `Order 3`, and a sampled axial or radial gradient has a stop at each sample; a gradient the page paints as a row of abutting one-colour strips (as Level 2 writers draw smooth shades) imports as one linear gradient, without the seams the strips leave when each is drawn alone; CMYK images, CMYK JPEGs included, keep their ink amounts on import, as from PDF, and the pixels a `MaskColor` or `ImageType 3` mask hides become a grayscale opacity mask; ruzstd 0.9.1 for compressed editing data (#1807, RUSTSEC-2026-0344) |
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| PostScript `.ps` | open, place | yes (the EPS reader reads its first page; `.epsf` files open and place as EPS) | via Print to PostScript | `tests_epsimport.rs` |
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| SVG / SVGZ | open, place, save | yes | yes (SVG Options, Preserve Editing, symbols, filters, rich text) | strongest format; tests in `crates/svg/tests`; text on a path follows basic shapes as their SVG 2 equivalent paths (#1527); CSS transforms and the `font` shorthand (#1565), percentage lengths in symbols (#1596), Inkscape flowed text as area type (#1568) and Inkscape pages as artboards (#1601) import; an unsupported filter is named in its warning (#1598); an artboard exported on its own (Export As with Use Artboards, Export for Screens, Asset Export) has the artboard's name as `<title>`, Save the document's (#3544); attributes in other applications' XML namespaces (`plotter:pen="2"`) kept on their objects from import to export, as `data-*` attributes are (`crates/svg/tests/it/foreign_attributes.rs`); simple shapes export as `<rect>`, `<circle>`, `<ellipse>`, `<line>`, `<polygon>` and `<polyline>` where they draw the same as the path (#4652, `crates/svg/tests/it/basic_shapes.rs`); the regions of exported masks and filters (opacity masks, inverted masks, knockout groups) cover the art they apply to, and over type keep a region that covers any artwork (#6401, `crates/svg/tests/it/blend_export.rs`) |
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| SVG / SVGZ | open, place, save | yes | yes (SVG Options, Preserve Editing, symbols, filters, rich text) | strongest format; tests in `crates/svg/tests`; text on a path follows basic shapes as their SVG 2 equivalent paths (#1527); CSS transforms and the `font` shorthand (#1565), percentage lengths in symbols (#1596), Inkscape flowed text as area type (#1568) and Inkscape pages as artboards (#1601) import; an unsupported filter is named in its warning (#1598); an artboard exported on its own (Export As with Use Artboards, Export for Screens, Asset Export) has the artboard's name as `<title>`, Save the document's (#3544); attributes in other applications' XML namespaces (`plotter:pen="2"`) kept on their objects from import to export, as `data-*` attributes are (`crates/svg/tests/it/foreign_attributes.rs`); simple shapes export as `<rect>`, `<circle>`, `<ellipse>`, `<line>`, `<polygon>` and `<polyline>` where they draw the same as the path (#4652, `crates/svg/tests/it/basic_shapes.rs`); the regions of exported masks and filters (opacity masks, inverted masks, knockout groups) cover the art they apply to, and over type keep a region that covers any artwork (#6401, `crates/svg/tests/it/blend_export.rs`); SVG Options › Include Variable Data writes the text variables, data sets and bound type objects, and opening the SVG reads them back (`tests::variables::an_svg_with_variable_data_opens_with_its_variables_data_sets_and_bindings`) |
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| DXF | open, export | yes | yes (R12–2018) | R13–2018 closed SPLINE flags and control-point closure on import verified (#1299); circular cubic paths export as native CIRCLE/ARC where stroke semantics permit; R12 weighted strokes remain POLYLINE while non-circular curves keep the existing fallback (`crates/cad/src/tests.rs`); [Autodesk group 70](https://help.autodesk.com/cloudhelp/2024/ENU/AutoCAD-DXF/files/GUID-E1F884F8-AA90-4864-A215-3182D47A9C74.htm). DXF 2000–2018 LAYOUT objects write the paper image origin as 148/149 (was a stray 158), the shade plot codes (2004+) and the model type flag, and the plot style placeholder carries no subclass marker (#3085; structure test `r2000_and_later_files_have_the_structure_cad_apps_require`, checked with ezdxf's audit; not yet confirmed in Autodesk Fusion). DXF Options' Preset menu and `document.exportDxf`'s `dxfPreset: "cnc"` set the CNC / CAM options (#5500); VCarve QA remains open |
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| HP-GL/2 `.plt`, `.hpgl`, `.hgl`, `.hpg` | — | yes (pen moves, pens and widths, line types and attributes, circles, arcs, wedges and Bézier curves, filled and edged rectangles, wedges and polygons, encoded polylines, scaling and rotation; labels, symbol mode, raster images and hatching aren't drawn) | yes (`.plt`: each visible path once along its line, a pen per color or a pen table, type as outlines, clipping applied, HP-GL or HP-GL/2 with pen colors and encoded polylines) | recognized by its first instructions after any printer escapes, under its own extensions or one no other format reads; `crates/cad/src/hpgl/tests.rs`, `crates/cad/src/hpgl/write/tests.rs` (plots read back by the reader), `tests_hpgl.rs`, `import_fuzz.rs` |
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| DWG | open, export | no | no | no open spec; DXF instead |
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@@ -320,6 +323,7 @@ Stop opacity on translated artboards remains outside this regression coverage.
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| Date | Change | Summary |
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|---|---|---|
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| 2026-11-12 | minor | `.ai` and EPS import: type in an envelope with Distort Appearance is also tried mapped from the box of what it paints, after the ways it was tried before (its glyphs alone and grown by half its strokes' weight, #6535, on its own warp and on its saved grid), before a grid moved onto its drawn art, and only where that box is another: its glyph outlines with their fills and strokes baked as the envelope bakes them (geometry effects on them applied: a stroke a Transform effect moves counts where it is moved to), each piece measured by its visual bounds, which are exact for miter joins (a tip counts where the miter limit keeps it, not the miter allowance at every corner that the bounds with strokes take) and round joins and an upper bound for bevel joins, miters the limit cuts, width profiles and square-capped dashes; a contour of zero length, which paints nothing, doesn't count. Effects on the type object itself are left out, as VectorCraft applies them after the envelope bends the type. The box is measured only when that try comes and the import has a check left for it, and once for an envelope. Groups round type and other objects in the contents are measured as before. In users' files (used locally, never committed) the drawn art of some stroked type in an envelope maps from that box: where the type has sharp corners at its edges (slanted stems, pointed feet) and miter joins, or a stroke moved by a Transform effect (a drop shadow), its glyphs grown by half the weight gave too small a box and the envelope kept its drawn art; and where a glyph holds a contour of zero length at its edge, the glyphs' box counted it. On 224 of our own files: envelopes of type that open live go from 154 in 45 files to 161 in 50, and no file loses one; no file changes whether it opens from its layers or its PDF part; renders at 40 ppi change in 6 files, by at most 0.94% of their pixels, each where an envelope of type now opens live in place of its drawn art (the page's own art): 1 closer to the file's own page and 5 further; the notes change in the same 6 files: the note on type in an envelope goes where none keeps its drawn art, and a file whose envelopes of type all kept their drawn art, which opened without the page comparison, now opens with it and carries its notes (the share of art or type that differs from the page, type the page has without a text object, the PDF part's note on DeviceN colours). A synthetic file of 256 such envelopes of 2,000 characters each opens in the same time as before (13.3 s in a debug build): the box is measured only when its try comes. Tests `ai::envelope::tests::mitred_type_is_also_tried_mapped_from_what_its_stroke_paints_miter_tips_included`, `type_with_a_mitred_character_stroke_is_also_tried_mapped_from_what_it_paints`, `a_stroke_moved_by_a_transform_effect_counts_where_it_paints`, `round_joined_type_is_not_tried_twice_for_the_same_box`, `a_contour_of_zero_length_paints_nothing`, `a_side_within_the_slack_of_the_geometric_box_is_that_side`, `tests_native::a_warp_of_mitred_type_maps_from_what_its_stroke_paints_where_its_drawn_art_does` (#6824, part of #3179) |
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| 2026-11-12 | minor | `.ai` and EPS import: type filled or stroked with a pattern swatch keeps its pattern. In the text document a character's fill or stroke is a colour (key 0) and the name of an art style (key 5). In users' files (used locally, never committed) that style is one paint (`/SimpleStyle`): a colour, the one key 0 already has, or a pattern, `(name) … [matrix] p`, whose key 0 is black. Such type came in black, or stroked in black. It now takes the pattern, its matrix in art space as a path's pattern fill has it (the files' PDF parts tile such type with that matrix), placed in the type's text space so that it stays where the document has it. A pattern the file doesn't define or can't place, and a style of any other paint, keep the colour as before. A `.ai` saved again writes such type as its outlines, as it writes all type with pattern paint, with that warning. On 224 of our own files: envelopes of type that open live go from 154 in 45 files to 157 in 46, and no file loses one; no file changes whether it opens from its layers or its PDF part; renders at 40 ppi change in 10 of the 13 files with patterned type, 8 closer to the file's own page (one by under 0.01 points, in a file whose render differs from its page almost everywhere either way), 1 further by 0.03 points of its pixels (an envelope of type there now opens live in place of its drawn art), 1 not compared (its page renders at another size); notes change in 3 files: one loses its type note, one loses the note for type in an envelope and, now compared with its page, gains its type notes, and one that opens from its PDF part names a smaller difference. Tests `ate::tests::a_run_painted_by_a_patterns_art_style_takes_the_pattern`, `a_runs_pattern_stays_where_the_document_has_it`, `tests_native::type_painted_with_a_pattern_takes_it_from_the_art_style_its_paint_names`. Scores and estimates unchanged. (#6856) |
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| 2026-11-12 | minor | Explicit editing-data import keeps a single artboard beyond a capped 14,400 pt PDF page (#6865), with a warning; automatic mode stays unchanged. Scores and estimates unchanged. |
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| 2026-11-12 | minor | PDF import (#5235): a glyph with no advance in a font the file writes horizontally (a vowel sign or anusvara set over its letter) stays on its line instead of opening as vertical type of its own. A line of type in an Indic script (U+0900 to U+0DFF) is set again after it is read and compared with the glyphs the file drew: when it would draw other glyphs or put them elsewhere (a vowel sign the file draws before its consonant, a conjunct the file doesn't name), the line keeps the file's glyphs as outlines, with a note. Indic type in a font that isn't installed never draws as the file does, so it keeps the file's glyphs too; other type in such a font still shows in the fallback font (#4568). Tests: `crates/pdf/src/tests/reshaped.rs`. Scores unchanged. |
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| 2026-11-12 | minor | Save refusal follow-up (#6146): changed format opens its Save options; unchanged format retains original options. Focused UI regressions passed, including the format-change case that failed before the fix; native panel acceptance pending. Scores and estimates unchanged. |
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+2
-2
@@ -359,8 +359,8 @@ macOS cursor delivery (#2292) is narrowed to a native host adapter using the exi
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Patterns and Scale Strokes & Effects: off, Transform Objects leaves the geometry in place; the other two scale
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stroke weights, dashes and the fills' and strokes' effect distances and move pattern tiles with the object, copy
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`k` by the transformation `k` times. Canvas, export and Expand Appearance agree. A Transform effect in a fill's or
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stroke's own effect list applies the two options to that fill or stroke and its later effects in the same way.
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Not yet: object effects after it keep their distances.
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stroke's own effect list applies the two options to that fill or stroke; the effects listed after it keep their
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distances and apply to the transformed art, as an object's later effects do.
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- **Done (#937, reproduced case):** Shape Builder regions on art of more than 4,096 segments (traced or type
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outlines): the planar map no longer gives up there, so lines cut such art instead of the tool offering whole
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shapes (the planar map's edge-source and face lookups were quadratic in the segments, now indexed, and the cap is 65,536; Divide with open paths shares it). The edge-source index files a long segment under the grid cells along it, so a diagonal hatch (every line's bounds hold most points) no longer costs a scan of the hatch per edge. The grid holds a budget of references (64 per item plus four rows' or columns' worth), the items past it scanned, so coincident segments can't make it quadratic in memory.
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||||
|
||||
@@ -87,6 +87,16 @@ pixels and 16,384 pixels on a side. A raster export shows the line as the canvas
|
||||
Type Optimized anti-aliasing, or when it uses Art Optimized and is larger than either limit.
|
||||
Overlapping stacks the colors instead: a lower color continues under the edge of the color above it,
|
||||
and no background shows along that edge.
|
||||
|
||||
**Flat Logo with named colors.** With `logoColors` named, Flat Logo decides whether the image is flat
|
||||
art by the image's own colors. It finds them the same way as when no colors are named, and looks for as
|
||||
many colors as are named, with white, or as the Colors setting gives, whichever is more. How far the named colors
|
||||
are from the image's colors does not change whether the image is refused. While no more colors are
|
||||
named than the Colors setting, an image is refused exactly when it is refused without named colors.
|
||||
The trace then uses only the named colors, and white while white is a color of its own. An area of a
|
||||
color that was not named is traced too: each of its pixels goes to the named color, white or
|
||||
transparent that has the largest share in the blend of them that comes closest to the pixel.
|
||||
|
||||
**Large images.** An image of more than 1500 pixels on a side is traced as any other, only more
|
||||
slowly, and the trace says so: `imageTrace.make` returns the note in `warnings` and the status bar
|
||||
shows it (the [results optimization](https://helpx.adobe.com/illustrator/using/image-trace-results-optimization.html)
|
||||
|
||||
+133
-13
@@ -222,6 +222,13 @@ the suite) keep the agent to the folders you give it:
|
||||
`null`; an empty folder and the scratch disk choices `Startup` and `None` stay. In `prefs.get {}` and
|
||||
`prefs.reset`, an export preset in `screenExportPresets` leaves out its `folder` when the folder is outside the
|
||||
read roots, and the preset stays. The preferences themselves are not changed.
|
||||
- `document.inspect` (`inspect_document`) gives `path` as null when the document's file is outside the read roots.
|
||||
`document.json` names a linked image or placed file outside them by its file name alone in the link's `path`, and
|
||||
leaves out the link's `relative`, `size` and `modified`. This covers the art of the brushes in `unknown.brushes`
|
||||
too. A link whose file is inside them keeps its `path` but leaves out a `relative` that leads outside them. A
|
||||
stored brush entry that does not read as a brush is left out of `unknown.brushes`. `document.json` also names a data set's image
|
||||
value outside them by its file name alone, and leaves out the `folder` of `export_settings` (the settings Export
|
||||
for Screens last used) when that folder is outside them. The document itself is not changed.
|
||||
- `plugin.list`, `plugin.safeMode`, `file.recovery.*` and `ui_inspect`'s `scriptReport` leave out the paths
|
||||
outside the read roots, also those the person or an earlier request put there. In `plugin.list`, the plug-in
|
||||
folder last loaded is `null` in `folder.folder`, and a failed file in `folder.failed` and a plug-in's `source`
|
||||
@@ -823,7 +830,20 @@ lists every option with its default. `encoding` is `utf8`, `utf16` (big-endian a
|
||||
a warning). `embedFonts: true` embeds the fonts type uses as `@font-face` rules subset to the characters used; a
|
||||
font whose licence (OS/2 `fsType`) forbids subsetting is embedded whole, one that forbids embedding is left out
|
||||
with a warning. Type names its faces by numeric `font-weight` (600 for Semibold and for a Japanese face's W6, 300 for Light, `bold` for 700),
|
||||
embedded or not. `svgz` takes the same options and writes the SVG gzipped (`.svgz` files also open,
|
||||
embedded or not. `variableData: true` (SVG Options › Include Variable Data) writes the document's text variables and
|
||||
data sets as a `variableSets` element in the layout `variable.loadLibrary` reads, so the SVG works as a data merge
|
||||
template ([help](https://helpx.adobe.com/illustrator/desktop/automate-visualize-data/automate-actions/merge-data.html)).
|
||||
Each text variable names its bound type object by the element's id, `docRef="id('…')"` (VectorCraft's own form); an
|
||||
unnamed object, or any object with `objectIds: "minimal"`, is given an id for it. A variable bound to several type
|
||||
objects names the first by object id. Variables of other kinds, text variables whose names aren't XML names, and data
|
||||
sets whose names are blank, have white space at either end, hold characters XML can't hold or repeat a name are left
|
||||
out, each with a warning. Only the first 256 text variables and the first 1,000 data sets are written, and variable
|
||||
data larger than 8 MiB or holding more than 2,000,000 XML nodes is left out (the limits `variable.loadLibrary`
|
||||
reads), each with a warning. With `outlineText`, the bound type is written as outlines, so its text variables open
|
||||
unbound (with a warning). `document.open` reads the variable data of an SVG back (unless the SVG reopens from
|
||||
Preserve Editing): its text variables and data sets, no active data set, and each text variable bound to the type
|
||||
object its `docRef` names; the art stays as the file draws it. Variable data that `variable.loadLibrary` would refuse
|
||||
is left out with the warning "the file's variable data wasn't read", and the art opens. `svgz` takes the same options and writes the SVG gzipped (`.svgz` files also open,
|
||||
place and paste). `run_command document.save {path: "x.svg", svg: {…}}` saves as SVG (or `.svgz`).
|
||||
Colorized grayscale and 1-bit images export in their fill color; linked mode writes a coverage PNG, and Tiny 1.2 writes a colorized PNG.
|
||||
|
||||
@@ -1498,6 +1518,11 @@ key, the Batch dialog or `ui.action.play`), a key a command no longer reads, rec
|
||||
and the action still plays. `Session::replay` plays a journal the same way. The command still refuses an effect
|
||||
`color` or `channel` it can't read.
|
||||
|
||||
`window.panel` refuses every request in Presentation Mode, which hides every panel, and changes nothing. With
|
||||
`toggle` it hides only a panel that can be seen, which is the panel the Window menu checks. While Tab or Shift+Tab
|
||||
hides the dock, no panel is checked, and the panel shows again with the dock in its earlier place; the toolbar and the
|
||||
Control bar stay as they are.
|
||||
|
||||
The export commands limit those keys. `document.export`, `document.exportSelection`, `document.serialize`, `app.export`
|
||||
and `file.export` refuse a key that no format takes, and ignore a key that only another format takes
|
||||
(`{"format": "pdf", "quality": 80}` writes the PDF). `document.exportPdf`, `document.pdfSettings` and `pdf.preset.save`
|
||||
@@ -2607,6 +2632,24 @@ and changes nothing. Behavior reference:
|
||||
{"name":"invoke_menu","arguments":{"command":"learn.show","params":{"tutorial":"pen-paths"}}}
|
||||
```
|
||||
|
||||
A step that names a tool shows the tool's name as a blue link. A click on it, or Enter or Space while it has the
|
||||
keyboard focus, runs `learn.locateTool {tool}`, which marks where the tool is in the current layout without choosing
|
||||
it: its toolbar button, or the tool's row in its group's flyout, which opens when the button shows another tool of the
|
||||
group. A group torn off into a strip comes to the front with the tool marked in it. A tool that no shown toolbar holds
|
||||
is marked in the All Tools drawer, which opens; the tool is not added to a toolbar. A Tools panel hidden with
|
||||
Window › Tools shows again. A target below the window's bottom scrolls into view. The mark lasts 3 seconds after it
|
||||
first shows; Escape or the next locate removes it. The reply is `{tool, location, toolbar}`: `location` is `toolbar`,
|
||||
`flyout`, `strip`, `allTools` or `unavailable`, and `toolbar` names the toolbar made with New Toolbar that holds the
|
||||
tool (null for the Tools panel's). While Presentation Mode or Tab hides the toolbars, the reply is `unavailable` with
|
||||
a `reason`, and nothing changes. A missing, non-string or unknown `tool` is an error and changes nothing. The mark,
|
||||
its 3 seconds, the flyout, strip and All Tools behavior and the hidden-toolbar replies are VectorCraft's own rules;
|
||||
the help page (https://helpx.adobe.com/illustrator/desktop/get-started/learn-the-basics/learn-skills-quick-skill-guide.html)
|
||||
describes selecting a tool's name in a step to find the tool.
|
||||
|
||||
```json
|
||||
{"name":"invoke_menu","arguments":{"command":"learn.locateTool","params":{"tool":"smooth"}}}
|
||||
```
|
||||
|
||||
## Ruler guides
|
||||
|
||||
Each ruler guide is an object of a layer or sublayer, directly in it and above its art, and takes an id from the
|
||||
@@ -4254,6 +4297,34 @@ the `…Open` rings…) and marks (`Bar`, `DoubleBar`, `DotOnBar`, `Slash`, `Dou
|
||||
`arrowScale`, at least 0.25 pt. `LineArrow` has two arms of the head's weight (the line's weight at 100 % for lines of
|
||||
0.25 pt or more) at right angles and spreads twice as wide.
|
||||
|
||||
Custom arrowheads come from the arrowheads file, `Arrowheads.vectorcraft` next to the preferences (none on the web or
|
||||
in runs with `VECTORCRAFT_NO_PREFS`). `stroke.arrowheads.edit` (Stroke panel menu › Edit Arrowheads…) opens it, and
|
||||
first creates it with one example head when it is missing. Each symbol in the file is one head, named after the
|
||||
symbol and listed after the built-in heads in both arrowhead menus. These rules are VectorCraft's own: a head points
|
||||
right, the symbol's registration point is its tip, and the art's height is drawn as wide as the built-in heads (four
|
||||
head weights). The visible fills and the outlined visible strokes of its paths, compound paths and groups, and its
|
||||
gradient meshes, make the head, with geometry effects applied and clip groups clipped, and the line stops halfway along its length. A head is
|
||||
one solid shape in the stroke's paint: art at 0 % opacity is left out, and other opacities, blend modes and opacity
|
||||
masks do not change the shape. The file is read when the app starts and again from disk each time VectorCraft saves it;
|
||||
`stroke.arrowheads.reload` reads it again. A file larger than 64 MB, or whose document or images unpack to more than 64 MB, is
|
||||
not read, at most 256 symbols are read, and a symbol that paints nothing, reaches more than 64 head weights from its
|
||||
tip, has more than 65,536 anchors in its art or in the shapes it paints, has shapes that cannot be combined into one,
|
||||
or has more than 4,096 anchors once united is listed in `skipped`. `stroke.arrowheads.list` returns each head's `name`, `reach` and `halfWidth`, the `file`
|
||||
path, the `skipped` symbols and any read `error`.
|
||||
|
||||
`stroke.set {endArrow: {"custom": name}}` puts a custom head on a stroke. The stroke keeps a copy of the head's art,
|
||||
so the document draws it, saves it and exports it to SVG and PDF the same way without the arrowheads file.
|
||||
`document.inspect` reports such a head as `{"Custom": {name, path}}`, which `stroke.set` takes back unchanged. It
|
||||
refuses a `path` that fills no area (non-zero rule; parts thinner than a millionth of a head unit count as none) or
|
||||
has more than 4,096 anchors, more than 4,096 subpaths or a point more than 64 head units from the tip. The help page
|
||||
[Apply stroke on an object](https://helpx.adobe.com/illustrator/using/stroke-object.html) describes defining custom
|
||||
arrowheads in a separate arrowheads file.
|
||||
|
||||
```json
|
||||
{"name":"run_command","arguments":{"command":"stroke.arrowheads.list","params":{}}}
|
||||
{"name":"run_command","arguments":{"command":"stroke.set","params":{"ids":[9],"endArrow":{"custom":"Example Arrowhead"}}}}
|
||||
```
|
||||
|
||||
## Stroke bounds and clicks
|
||||
|
||||
Visual bounds (Fit to Selected Art, Rasterize, exporting all art) and clicks on the canvas take
|
||||
@@ -4964,12 +5035,35 @@ is listed as Document › Export Selection…. A shortcut already given to `docu
|
||||
When the other entry is anything else, the command is not listed: `window.learn` is left out, and Window › Learn is
|
||||
the Learn panel's entry.
|
||||
|
||||
No two rows of Edit › Keyboard Shortcuts have the same English name. Rows that would have the same group and label
|
||||
are named this way:
|
||||
|
||||
- A command that an item of the menu bar runs, with no params or with the params all its items give, is listed under
|
||||
that item's menu path: `window.brushLibrary.other`, `window.graphicStyleLibrary.other`,
|
||||
`window.swatchLibrary.other` and `window.symbolLibrary.other` are listed as Window › Brush Libraries › Other
|
||||
Library…, Window › Graphic Style Libraries › Other Library…, Window › Swatch Libraries › Other Library… and
|
||||
Window › Symbol Libraries › Other Library….
|
||||
- A command whose id is another command's id with one more part is listed under that command's label:
|
||||
`ui.charStyleOptions.resetPanel` and `ui.paraStyleOptions.resetPanel` are listed as Character Style Options ›
|
||||
Reset Panel and Paragraph Style Options › Reset Panel.
|
||||
- The other rows that still have the same name show their id in parentheses after it. The one row of them that an
|
||||
item of the menu bar runs keeps the name without its id: File › New… is `file.newDialog` and `file.new` is File ›
|
||||
New… (file.new), and Type › Fit Headline is `text.fitHeadline` and `type.fitHeadline` is Type › Fit Headline
|
||||
(type.fitHeadline). `file.exportInBackground` and `file.openInBackground` are File › Continue in Background
|
||||
(file.exportInBackground) and File › Continue in Background (file.openInBackground).
|
||||
|
||||
`shortcuts.list` gives such a row's group in `group` and the command's own label in `label`, so the rows that show
|
||||
their id have the same `group` and `label` there, and `id` tells them apart. `shortcuts.exportText` writes these
|
||||
names. When a shortcut is already in use, the message names each row that has it by its whole name, group included,
|
||||
for every row: a `shortcuts.set` error ends with "is already used by Window › Swatch Libraries › Other Library…".
|
||||
|
||||
Each installed filter plug-in's Object › Plug-ins item is its own row, with id `plugin:<id>` (the plug-in's id), its
|
||||
menu label and no default shortcut, so two filters with the same name have two rows. `shortcuts.set {id:
|
||||
"plugin:<id>", shortcut}`, `shortcuts.list` and Import Shortcut Set use that id, `shortcuts.exportText` writes one line
|
||||
for the row under its menu path and label, and the key runs what a click on the item runs, `plugin.dialog {id}`. A
|
||||
removed plug-in's row goes away and its key runs nothing; its shortcut stays saved and applies again when a plug-in
|
||||
with the same id is installed.
|
||||
menu label and no default shortcut, so two filters with the same name have two rows. When the two rows have the same
|
||||
menu path and label, each shows its id after the name. `shortcuts.set {id: "plugin:<id>", shortcut}`,
|
||||
`shortcuts.list` and Import Shortcut Set use that id, `shortcuts.exportText` writes one line for the row under its menu
|
||||
path and label, with its id when the row shows it, and the key runs what a click on the item runs, `plugin.dialog
|
||||
{id}`. A removed plug-in's row goes away and its key runs nothing; its shortcut stays saved and applies again when a
|
||||
plug-in with the same id is installed.
|
||||
|
||||
`shortcuts.exportText {path?}` saves the current set's shortcut list as a UTF-8 text file, as Edit › Keyboard
|
||||
Shortcuts › Export Text… does with the dialog's set as edited so far. The file starts with a "Keyboard Shortcuts" line
|
||||
@@ -6899,9 +6993,11 @@ says when CSS can't describe the art exactly (`unsupported`: other shapes, image
|
||||
written as its box, or with `rasterize: true` as `background-image: url(<class>.png)`. `units` is `px` (1 px per
|
||||
point, as in SVG export), `pt`, `mm`, `cm` or `in`; `unnamed: false` leaves out unnamed objects (counted in
|
||||
`skipped`). `css.generate` does the same for the whole document, and `css.export {path?, scope?: selection|all}`
|
||||
writes the `.css` file with the PNGs of rasterized art next to it (no path: `data` and `images` as base64). Its
|
||||
`warnings` add the PNGs' notes to the CSS's, each once (an image that couldn't be decoded, type written in the
|
||||
fallback font…). In the app, `css.copy` copies the CSS and `css.exportFile` writes it through a save panel (the web
|
||||
writes the `.css` file with the PNGs of rasterized art next to it (no path: `data` and `images` as base64). A left-out
|
||||
`scope` exports the selection; a `path` or `scope` given as anything but a string, `null` included, is an error, and
|
||||
nothing is written. `css.generate` and `css.export {scope: "all"}` do not use `ids` or `id`, but a malformed one is still
|
||||
an error. Its `warnings` add the PNGs' notes to the CSS's, each once (an image that couldn't be decoded,
|
||||
type written in the fallback font…). In the app, `css.copy` copies the CSS and `css.exportFile` writes it through a save panel (the web
|
||||
downloads it) and shows the first note in the status bar, with how many there are; resting the pointer on the
|
||||
message lists up to 30 of them, fewer when the list would not fit in the window, with how many were left out.
|
||||
|
||||
@@ -7584,6 +7680,27 @@ Panel sets it back to Push Out Only. One undo step.
|
||||
{"name":"run_command","arguments":{"command":"text.setFormat","params":{"kinsokuType":"pushInFirst"}}}
|
||||
```
|
||||
|
||||
## Bunri-Kinshi
|
||||
|
||||
`text.setFormat {bunriKinshi: bool}` (Paragraph panel menu › Bunri-Kinshi, shown with the East Asian options) turns it
|
||||
on or off for the paragraphs of the selected type (or `ids`, or the paragraphs a `start` / `end` range touches). On, a
|
||||
line never breaks inside an inseparable pair: two em dashes (U+2014), two horizontal ellipses (U+2026), two two-dot
|
||||
leaders (U+2025), or the upper half of a vertical kana repeat mark (U+3033 or U+3034) followed by its lower half
|
||||
(U+3035), the pairs W3C JLREQ lists for its class cl-08 (https://www.w3.org/TR/jlreq/#cl-08), which are VectorCraft's
|
||||
set. A chain of em dashes stays together as well. A pair is two neighboring characters, whatever their fonts and
|
||||
styles; a forced line break between them ends the line as before. Both composers, vertical type, Kinsoku Shori Type,
|
||||
hyphenation and No Break follow it, and a pair wider than the line stays whole on it. Justification adds no space inside
|
||||
a pair. The setting works only with a Kinsoku Set: with Kinsoku Set None the paragraph keeps the value without effect,
|
||||
and the menu item is unavailable. Off by default, for new type and for paragraphs saved before the option. It is saved
|
||||
with the paragraph (`bunri_kinshi` in `para`) only when on, paragraph styles carry it (Paragraph Style Options › East
|
||||
Asian Composition Settings), and Reset Panel turns it off. A value that is not true or false is refused. One undo
|
||||
step. `.ai` editing data does not hold it, and a save reports a paragraph with it on and a pair in it as left out. The help page:
|
||||
https://helpx.adobe.com/illustrator/using/formatting-asian-characters.html
|
||||
|
||||
```json
|
||||
{"name":"run_command","arguments":{"command":"text.setFormat","params":{"bunriKinshi":true}}}
|
||||
```
|
||||
|
||||
## Korean Line Break Anywhere
|
||||
|
||||
`text.setFormat {koreanLineBreakAnywhere: bool}` (Paragraph panel menu › Korean Line Break Anywhere, shown with the
|
||||
@@ -9150,7 +9267,8 @@ during it puts the value back:
|
||||
How blends interpolate: closed shapes start where they twist least unless `starts` picks the anchors; strokes
|
||||
interpolate weight, dashes (a solid stroke counts as the dashed one with its gaps closed), miter limit, arrowhead scale,
|
||||
width profiles and the pen pressure, tilt, bearing and rotation recorded with the Paintbrush (a stroke without a
|
||||
recording counts as half pressure, half tilt and 0°, as brushes read it; angles turn the shorter way round), while
|
||||
recording counts as half pressure, half tilt and 0°, as brushes read it; angles turn the shorter way round; a key's
|
||||
profiles, recordings and arrowheads turn with its path when the blend starts it at another anchor), while
|
||||
caps, joins, alignment, arrowheads and brushes switch halfway; gradients of one kind with
|
||||
different stop counts resample to a common set of stops. Groups pair their members in stacking order (members only
|
||||
one group has grow out of the other's centre), compound paths stay compound paths, and type, symbol instances and
|
||||
@@ -10194,9 +10312,11 @@ change in one undo step, and an image that `ids` names twice changes once. An im
|
||||
as it is, and when none changes the command adds no undo step and returns `changed: 0`. `cleared` counts the pixels
|
||||
made fully clear in the images that changed. The command refuses, and changes nothing, when an image is CMYK, a linked
|
||||
image shows its preview (embed or relink it first), an image would need more than the decode allowance while it is
|
||||
worked on (2 GiB, or 512 MiB in the web app, counted from the file's header before it is decoded), or every pixel of an
|
||||
image would be cleared. Remove Background… opens the command's dialog with Preview off; with Preview on, the canvas
|
||||
shows the result for the values in the dialog, and Cancel puts the image back. While a dialog previews the command,
|
||||
worked on (2 GiB, or 512 MiB in the web app, counted from the file's header before it is decoded), an image is
|
||||
grayscale and colorized with a process color (the result has an alpha channel, and only a spot color, black or white
|
||||
colorizes a grayscale image with transparency, as `paint.setFill` requires), or every pixel of an image would be
|
||||
cleared. Remove Background… opens the command's dialog with Preview off; with Preview on, the canvas shows the result
|
||||
for the values in the dialog, and Cancel puts the image back. While a dialog previews the command,
|
||||
the session keeps the decoded pixels of the images it changes (at most 128 MiB, or 32 MiB in the web app), so the next
|
||||
preview step does not decode them again; it releases them when the dialog closes with OK or Cancel. A run that is not
|
||||
a preview step does not keep them.
|
||||
|
||||
+1
-1
@@ -9,7 +9,7 @@ Scribble over overlapping paths to make an editable Shaper Group:
|
||||
- End the scribble outside the artwork to remove the touched fills and exposed boundary strokes. Shared edges along surviving filled areas remain, closing their contours. Compatible stroke pieces join at the new corners, so the selected stroke’s join style applies there.
|
||||
- Scribble over an unfilled stroke segment to remove that piece. A line passing through a shape is split at the intersections, so its protruding ends can be removed separately.
|
||||
|
||||
Click once to select the group; click again to select its visible fill and change its color. Double-click with Shaper to enter construction editing and select an original shape. The Selection tool then moves or resizes it normally, and the visible composition updates. Escape leaves construction editing. The original live shapes and edit recipes survive native save/reopen. Outside construction editing, selection highlights and bounds show only the visible result. Outside construction editing, a marquee selects the group or its faces only where it reaches the visible result, and Direct Selection's clicks and marquee select only the anchor points of the visible result.
|
||||
Click once to select the group; click again to select its visible fill and change its color. Double-click with Shaper to enter construction editing and select an original shape. With the group or one of its faces selected, a Shaper click on an original shape's outline also enters construction editing and selects that shape, even where the outline runs through a merged face ([help page](https://helpx.adobe.com/illustrator/desktop/draw-shapes-and-paths/draw-shapes/create-shapes-with-the-shaper-tool.html)). The click counts within 3 screen pixels of the outline, a VectorCraft value. The Selection tool then moves or resizes it normally, and the visible composition updates. Escape leaves construction editing. The original live shapes and edit recipes survive native save/reopen. Outside construction editing, selection highlights and bounds show only the visible result. Outside construction editing, a marquee selects the group or its faces only where it reaches the visible result, and Direct Selection's clicks and marquee select only the anchor points of the visible result.
|
||||
|
||||
While the group or one of its faces is selected (Face Selection mode) and the Shaper or Selection tool is active, an arrow widget sits beside the middle of the right side of the original shapes’ bounds. Click it to enter Construction mode: the original shapes are isolated and nothing is selected, and a click with Shaper selects the group’s original shape under the pointer. Click the widget again to leave Construction mode with the group selected. The arrow points right in Face Selection mode and left in Construction mode.
|
||||
|
||||
|
||||
@@ -594,7 +594,8 @@ since 2026-10-01.
|
||||
- **`.ai`/EPS type laid out closer to the file's page (#6137):** type from the text document keeps auto leading as auto, each line taking the paragraph's Auto Leading share (key 7) of the largest type on it ([Line and character spacing](https://helpx.adobe.com/illustrator/using/line-character-spacing.html)); the paragraph's hyphenation options (keys 10 to 15) are read; area type of one frame whose last lines the file sets, but which don't fit here, may get a frame taller from its bottom, by its lines' deepest descent plus 0.05 pt and only when that shows more of those lines and no more than the file has (`vectorcraft_text::fit_source_lines`), with a warning when it does: the frame can stay as it is, or show only some of them; and a line a soft return ends is justified as a wrapped line is, a paragraph's last line keeping its alignment. Evidence: `ate::tests::auto_leading_follows_the_size_of_each_line`, `ate::tests::a_paragraph_keeps_its_auto_leading`, `ate::tests::a_paragraph_keeps_its_hyphenation_options`, `ate::tests::the_last_lines_the_file_sets_in_its_frame_show`, `tests::fit_source_lines_keeps_the_last_lines_the_source_sets`, `tests::typo::soft_return_in_justified_text_spreads_like_a_wrapped_line`. Limits: frames grow only for area type of one frame, horizontal, by its lines' deepest descent plus 0.05 pt; type in a font that isn't installed, and hyphenation in a language that isn't imported, still lay out differently. Scores unchanged.
|
||||
- **Selected Grid Repeat handles (#2691):** `tools/src/repeat_grid.rs` tests place the handles outside the grid at zoom 0.5, 1 and 4, preview rows, columns and spacing, leave no undo step for a drag that ends where it began, and give bounding-box handles priority; a headless canvas regression drags the row handle two tiles down in a zoomed view (3 → 5 rows, the source unchanged, one Undo back) and the column-spacing slider. Scores and hours unchanged.
|
||||
- **Selected Mirror Repeat handles:** a headless canvas regression creates the default mirror repeat and drags its Top bounding-box handle where the axis crosses it; the repeat grows vertically while its width stays fixed. Existing mirror-axis checks cover center movement and end-handle hit priority. The focused UI mirror tests pass. Scores and hours unchanged.
|
||||
- **Transform effect options (#885):** Effect › Distort & Transform › Transform… has visible Transform Objects, Transform Patterns and Scale Strokes & Effects checkboxes (`distort.transform` params `objects`, `patterns`, `strokes`; files without them draw as before). With Transform Objects off the geometry stays and makes no copies; Scale Strokes & Effects scales stroke weights, dashes and the fills' and strokes' effect distances by the mean scale, and Transform Patterns moves pattern tiles, each copy `k` by the transformation `k` times. Such objects draw, export and expand through the same per-copy art, so the canvas and Expand Appearance agree (engine `tests_transformfx`, effects `tests_transformfx`, the dialog test). A Transform effect in a fill's or stroke's own effects applies the same options to that fill or stroke: its weight and dashes, the distances of its later effects and its pattern follow the transformation, and with copies each copy is an object of its own; the canvas, export, Expand Appearance and Use Preview Bounds use the same art (effects `tests_transformfx`). Not yet: object effects after a Transform effect keep their distances. Public reference: [Scale objects](https://helpx.adobe.com/illustrator/desktop/manage-objects/reshape-transform-objects/scale-objects.html), [How to apply effects](https://helpx.adobe.com/illustrator/using/effects.html), [Distort and transform effects](https://helpx.adobe.com/illustrator/desktop/manage-objects/reshape-transform-objects/distort-and-transform-effects-in-illustrator.html). Scores and hours unchanged.
|
||||
- **Transform effect options (#885):** Effect › Distort & Transform › Transform… has visible Transform Objects, Transform Patterns and Scale Strokes & Effects checkboxes (`distort.transform` params `objects`, `patterns`, `strokes`; files without them draw as before). With Transform Objects off the geometry stays and makes no copies; Scale Strokes & Effects scales stroke weights, dashes and the fills' and strokes' effect distances by the mean scale, and Transform Patterns moves pattern tiles, each copy `k` by the transformation `k` times. Such objects draw, export and expand through the same per-copy art, so the canvas and Expand Appearance agree (engine `tests_transformfx`, effects `tests_transformfx`, the dialog test). A Transform effect in a fill's or stroke's own effects applies the same options to that fill or stroke: its weight and dashes and its pattern follow the transformation, and with copies each copy is an object of its own; the canvas, export, Expand Appearance and Use Preview Bounds use the same art (effects `tests_transformfx`). The effects listed after it in that fill's or stroke's list keep their own distances and apply to the transformed art and to each copy, as an object's later effects do after the object's Transform effect: a Drop Shadow after it keeps its offset, an Offset Path after it offsets by its own distance, and an SVG filter after it keeps its scale and the origin of its user space. With Transform Objects off, the effects before it keep their distances too. Before, Scale Strokes & Effects scaled a fill's or stroke's later effects by the mean scale, so existing documents with such effects draw differently. Effects apply in the order they are listed ([Appearance attributes](https://helpx.adobe.com/illustrator/desktop/special-effects-styles/apply-graphic-styles/appearance-attributes-in-illustrator.html)); how the two options treat the effects after a fill's or stroke's own Transform effect is VectorCraft's own rule, following that order (effects `tests::rasterfollow::a_fills_own_transform_leaves_the_shadow_after_it`, `tests::rasterfollow::a_fills_own_transform_leaves_the_offset_after_it`, `tests::rasterfollow::a_fills_own_transform_leaves_the_svg_filter_after_it`, `tests::transformfx::a_fills_own_transform_with_scale_strokes_and_effects_leaves_its_later_effects`; engine `plugins::a_transform_after_a_painted_fill_effect_leaves_the_later_shadow_on_every_paint`). Public reference: [Scale objects](https://helpx.adobe.com/illustrator/desktop/manage-objects/reshape-transform-objects/scale-objects.html), [How to apply effects](https://helpx.adobe.com/illustrator/using/effects.html), [Distort and transform effects](https://helpx.adobe.com/illustrator/desktop/manage-objects/reshape-transform-objects/distort-and-transform-effects-in-illustrator.html). Scores and hours unchanged.
|
||||
- **Raster effects before a Transform effect:** effects apply in the order they are listed ([Appearance attributes](https://helpx.adobe.com/illustrator/desktop/special-effects-styles/apply-graphic-styles/appearance-attributes-in-illustrator.html)). A Drop Shadow, glow, blur, Feather or pixel filter listed before a Transform effect in the same list (an object's effects, or a fill's or stroke's own) now follows that Transform effect: its sizes scale by the mean scale, and a Drop Shadow's offset turns, reflects and scales with the art. VectorCraft applies this rule with Scale Strokes & Effects on or off. Before, such an effect was drawn at its own distances around the transformed art. The canvas, export, Expand Appearance, Object › Expand, Outline Stroke and the 3D effects use the same values (effects `tests::rasterfollow`; render `a_transform_after_a_drop_shadow_scales_the_shadow_with_the_art`; engine `objexpand::a_shadow_before_a_transform_expands_as_the_canvas_draws_it`, `outlinestroke::a_shadow_before_a_transform_outlines_as_the_canvas_draws_it`). Not yet: a Transform effect that makes copies or moves at random leaves the raster effects before it as they are; a Rasterize effect before a Transform effect keeps its pixel grid and room around the art; the angles and light directions of pixel filters do not turn or reflect with the art. An object's or group's Transform effect changes the effects of its fills, strokes and members only through Scale Strokes & Effects, as before. Scores and hours unchanged.
|
||||
- **Warp Options (#1760):** Effect > Warp and existing Appearance effect links share the fifteen existing styles, original schematic previews, orientation choices and percent Bend/Distortion controls. Focused tests passed for real numeric entry and slider input, Preview/Cancel, immediate Enter/OK, mixed-style edits, target/slot/visibility preservation and Undo/Redo. Each applied style stays unchanged until an explicit Style choice. Original style-menu and live-preview captures were reviewed; their numeric values were supplied programmatically. Public references: [Reshaping with effects](https://helpx.adobe.com/illustrator/using/reshaping-objects-effects.html) and [Using effects](https://helpx.adobe.com/illustrator/using/effects.html). Warp geometry, optional Properties integration and remembered defaults are unchanged; no broader parity claim.
|
||||
- **Placed gradients follow the Warp effects:** under each of the fifteen Warp styles with a bend or a distortion, a gradient placed with the Gradient tool moves and scales from the object's bounds before the warp to its bounds after it, as under Free Distort; a stroke's gradient uses those bounds inflated by the stroke. This holds for an object's own Warp and for a fill's or stroke's own, on the canvas and in Object › Expand of the fill. In a group with a Warp effect, each path's and compound path's gradients follow its own bounds, a nested group's own fills and strokes follow the nested group's bounds, and the group's own fills and strokes follow the group's bounds. In the art Pathfinder and compound shapes take, a symbol instance's Warp moves the gradients of its symbol's art by the art's bounds, and a compound shape's Warp moves its gradients by the bounds of its area. A gradient fitted to the object still fits the warped outline, and a warp with no bend and no distortion leaves the gradient exactly in place. Existing documents with a Warp effect on art with a placed gradient draw differently: before, the gradient stayed where it was while the outline changed. How gradients follow the warp is VectorCraft's own rule; what the Warp effects do to the object is described in [Reshaping with effects](https://helpx.adobe.com/illustrator/using/reshaping-objects-effects.html) (effects `tests::warp_bends_when_the_warp_moves_the_outline`, `bake::tests::baked_warps_move_placed_gradients_from_the_bounds_to_the_warped_bounds`, `bake::tests::a_warp_with_no_bend_leaves_a_placed_gradient_exactly_in_place`, `bake::tests::a_fills_and_a_strokes_own_warp_move_its_placed_gradient_with_the_bounds`, `group::tests::a_groups_warp_moves_the_gradients_placed_on_its_paths_by_each_paths_bounds`, `group::tests::a_groups_warp_moves_its_own_a_nested_groups_and_a_compound_paths_gradients_by_their_bounds`, `group::tests::shape_art_moves_the_gradients_of_a_symbol_instances_art_and_a_compound_shape_with_a_warp`; render `objectfx::a_paths_gradient_moves_and_scales_with_its_warped_bounds`; engine `objexpand::a_placed_gradient_moved_by_a_warp_expands_as_the_canvas_draws_it`). Scores and hours unchanged.
|
||||
- **Warp as a Bézier patch per style:** each of the fifteen Warp styles bends the object's bounds as one Bézier patch whose control points the style sets from the bend and the size of the bounds; the horizontal distortion then scales each column of control points about its middle and the vertical distortion scales each row. The Warp effects and warp envelopes share the map, and content with no width or no height takes the middle of the patch along that side. New warps, the built-in graphic styles' Warps and warps opened from `.ai` files carry `version` 1 for it. Warps in `.vectorcraft` documents saved before it read as `version` 0 and keep their earlier look, and edits keep a warp's version; a `version` 0 warp saved to `.ai` opens again with `version` 1, since the file holds only its settings. The patches are VectorCraft's own rules; the styles and ranges are those of the Warp options in [Distort and transform effects](https://helpx.adobe.com/illustrator/desktop/manage-objects/reshape-transform-objects/distort-and-transform-effects-in-illustrator.html) (doc `live::tests::warp_nets_bend_each_style_as_its_own_patch`, `warp_net_arc_edges_are_concentric_circles`, `warp_net_distortion_scales_the_columns_then_the_rows`, `warp_net_takes_any_numbers`, `warp_net_bends_a_huge_box_without_overflowing`, `warp_envelopes_bend_flat_content_as_the_middle_of_the_patch`, `warp_envelopes_write_their_map_version_only_when_it_has_one`, `style_libs::tests::builtin_warp_styles_take_the_nets_map`; effects `tests::a_warp_draws_with_the_map_its_version_names`, `tests::a_warp_bends_a_flat_box_as_the_middle_of_its_patch`, `tests::new_warps_take_the_nets_version`; engine `effectedit::warps_keep_the_map_their_version_names`, `envelope::new_warp_envelopes_take_the_net_and_saved_ones_keep_their_map`; eps `ai_editing::tests::every_effect_a_graphic_style_holds_is_read_back`, `import::ai::tests::a_warp_envelope_opens_live`, `import::ai::tests::warp_envelopes_read_every_style`, `import::ai::style::tests::a_stack_of_fills_with_effects_of_their_own_is_read_as_itself`; ui-egui `dialogs::tests_warp::warp_options_edit_keeps_each_targets_map_version`). Scores and hours unchanged.
|
||||
@@ -775,6 +776,7 @@ Moved from the ROADMAP's "Shipped so far" on 2026-10-10. Update it when a featur
|
||||
- Errors under `--automation-read-root`: a refused save without a path and `file.revert` (also as an `action.batch` step), `script.listInstalled` and `links.relink {copy}` name the document's own file, the Scripts folder or the document's folder by its file name when it is outside the read roots, and keep the roots and the reason; `links.relink`'s copies name such a file by its file name too. A path the client gives stays whole. `crates/engine/src/tests/save.rs` (`pathless_save_rejection_hides_document_folder`), `crates/engine/src/cmd/fileio/action_batch.rs`, `crates/engine/src/tests/links.rs`, `crates/engine/src/tests/script_folder.rs`.
|
||||
- `ui.inspect` under `--automation-read-root`: the documents still opening, the recent files, library panels' files and folder preferences (saved, and in an open Preferences dialog) outside the read roots are left out of the reply, a library loaded from outside them shows by its file name in `ui.inspect` and `ui.docking`, and the app's state is not changed. `crates/ui-egui/src/tests/automation.rs` (`ui_inspect_leaves_out_paths_outside_the_read_root`).
|
||||
- Link replies under `--automation-read-root`: `links.list`, `links.check`, `links.info` and `document.open`'s link rows leave out the path, found path and folder of a linked file outside the read roots, and the stored size and date of it in `links.info`; each row keeps its id, file name and status, and the document's links are not changed. `crates/engine/src/tests/linkspanel.rs` (`link_paths_outside_the_read_roots_are_left_out`), `crates/engine/src/tests/placed_document.rs` (`link_info_leaves_out_a_placed_documents_path_outside_the_read_roots`).
|
||||
- Document replies under `--automation-read-root`: `document.inspect` gives `path` as null for a document file outside the read roots, and `document.json` names a linked image or placed file outside them by its file name alone, without its relative path, size or date, brush art included, leaves out a relative path that leads outside them and a stored brush entry that does not read as a brush, names a data set's image value outside them by its file name, and leaves an Export for Screens folder outside them out of `export_settings`; the document is not changed. `crates/engine/src/tests/placed_document.rs` (`document_replies_leave_out_paths_outside_the_read_roots`, `document_json_checks_brush_art_and_relative_paths_against_the_read_roots`).
|
||||
- Linked-file and font-file searches under `--automation-read-root`: `links.findFiles` and `text.findFontFiles` replies, also later polls and stops of a search another client started, leave out the files found, a link's saved path and the folder searched outside the caller's read roots, and a failed search gives its reason without the path; `image.info` gives `link: null` for a linked file outside them; `text.addFontFiles` gives `folder: null` and the copies' file names when the Fonts folder is outside them. `crates/engine/src/tests/linkfiles.rs`, `crates/engine/src/tests/fontfiles.rs`, `crates/engine/tests/font_folder.rs`.
|
||||
- Swatch, brush, symbol and graphic style library lists under `--automation-read-root`: every library stays listed, the paths of library files and the user library folder outside the read roots are `null`, a library loaded from outside them is listed and found as `loaded/<file name>` and keeps that id for the session unless a library loaded later without a file shows that id itself, which moves it to the next free `loaded/<file name> (N)`, and the app's own list is not changed. `crates/engine/src/tests/library_roots.rs`.
|
||||
- Preferences commands under `--automation-read-root`: `prefs.get`, `prefs.list`, `prefs.set` and `prefs.reset` show folder preferences outside the read roots as `null` and leave out an export preset's folder outside them, and the preferences are not changed. `crates/engine/src/tests/prefs_roots.rs`.
|
||||
@@ -827,6 +829,7 @@ Moved from the ROADMAP's "Shipped so far" on 2026-10-10. Update it when a featur
|
||||
- Czech render-site labels: desktop/web file filters, diagnostics, suggested preset names and contributor tooltips/plurals now use catalog lookups; gradients have Czech adjective agreement and printer marks have a separate context (PDF/Print and Summary). Search, Home, toolbar/panel tooltips and Preferences already look up their labels. Every complete catalog has rows for these labels and for the Roman and Japanese printer mark styles. Evidence: `i18n::tests::czech_render_site_follow_up`, `i18n::tests::complete_catalogs_translate_render_site_labels`, `dialogs::tests_modal::printer_mark_labels_are_distinct_from_language_names`; see [localization-parity.md](localization-parity.md).
|
||||
- The History panel, Edit › Undo and Edit › Redo translate the names of the steps that apply or redefine a character or paragraph style and of the step that redefines a graphic style: each such step keeps its template (`Apply {name}`, `Redefine {name}`, `Redefine Graphic Style “{name}”`) and the style's name, every complete catalog has a row for each template, and the panel and the menu show the style's name as the document holds it, except the Normal styles' names, which they show in the interface language (`steps_named_after_a_style_list_the_template_around_the_name`, `undo_and_redo_name_a_style_step_around_the_style_name`).
|
||||
- The status bar translates the limits a plug-in run can exceed (its instruction, time and memory budgets and its output size) and the error of a plug-in removal that leaves the plug-in's grant in the plug-in store, in every language that translates every message. The untranslated-strings report also lists messages that an error or a status takes from a `&str` constant (`plugin_limit_errors_are_translated`, `message_scan_reads_messages_held_in_constants`).
|
||||
- The status bar translates the plug-in host's other errors (manifest, module and run checks, the output an importer, exporter or effect returns, and the approval a plug-in's permissions need) in every language that translates every message. A JSON object or array inside a message stays as written, and a message that wraps another one, such as `plug-in manifest: {0}`, is matched by its own row before a row that starts with a placeholder. The reasons inside these errors (what is wrong with a parameter's spec or dialog keys, the value a parameter needs, what is wrong with an object, stroke, paint or effect in a plug-in's output) are translated with them, and the untranslated-strings report lists the reasons the plug-in host's error helpers take (`plugin_messages_are_translated_in_every_complete_catalog`, `plugin_errors_translate_with_their_values`, `plugin_error_reasons_are_translated_with_the_error`, `message_scan_reads_plugin_helpers`, `templates_that_start_with_text_match_first`).
|
||||
- Localised UI: menus (in-window and native), panels, dialogs, toolbar and Preferences read from per-language catalogs (`crates/ui-egui/src/i18n`, see `docs/development.md`); Traditional Chinese (Taiwan), Simplified Chinese (mainland), Japanese, Korean, Vietnamese, German, Spanish, French, Italian, Polish, Brazilian Portuguese, Russian, Ukrainian, Georgian and Catalan ship complete, and Czech covers every menu label (and more), with system-locale detection on macOS, Windows, Linux and the web (the browser's languages, or `?lang=`), a Language preference and, on macOS, a VectorCraft ▸ Language menu. Names are never translated (fonts and their styles, layers, artboards, saved presets, user libraries, custom workspaces, recent files, plug-ins).
|
||||
The counts that Package's status and question, the folder search of Missing Fonts and Find Linked Files, the modified and missing linked file prompts and the CSS Properties panel's notes show use the interface language's plural forms instead of a fixed "(s)" form. Evidence: `the_missing_links_note_uses_each_count_form` in `crates/ui-egui/src/dialogs/tests_package.rs`, `the_modified_links_question_uses_each_count_form` in `crates/ui-egui/src/dialogs/missing_links.rs`, `search_counts_use_each_count_form` in `crates/ui-egui/src/dialogs/missing_fonts/tests.rs` and `the_unnamed_objects_note_uses_each_count_form` in `crates/ui-egui/src/panels/tests_css_properties.rs`.
|
||||
The status bar's messages for relinked, replaced, updated and embedded images, broken links, linked files that can't be read or changed on disk, images that can't be decoded, added and unavailable fonts, copied CSS, downloads and exports with their notes name one item in the singular and more in the plural, in English and in each language's plural forms (`counted_status_messages_take_the_plural_form` in `crates/ui-egui/src/i18n/tests.rs`).
|
||||
@@ -842,6 +845,7 @@ Moved from the ROADMAP's "Shipped so far" on 2026-10-10. Update it when a featur
|
||||
- Object › Transform › Reset Bounding Box squares the box of every object inside the selected ones as well: the children of groups, compound paths, clip groups, blends, envelopes, repeats and intertwines, and the art of linked opacity masks. Ungroup and the release commands then bring back boxes square to the page (VectorCraft's own behavior; `bboxrotate::reset_bounding_box_squares_the_objects_inside_a_group`, `reset_bounding_box_squares_the_turned_members_of_a_square_group`, `reset_bounding_box_then_release_clipping_mask` and the other `reset_bounding_box_then_*` tests, `reset_bounding_box_leaves_the_art_of_an_unlinked_opacity_mask`).
|
||||
- Native macOS menu bar, vector tool cursors, a ⌘K command palette, middle-button panning with any tool. Native menus explicitly end tracking on command selection, outside window presses and Escape; menu updates wait until tracking ends, and a dismissing press never starts a canvas gesture (M14.8).
|
||||
- The Learn panel (Window › Learn, or Explore tutorials beside the search icon on the app bar) has a For you tab with a Get started section and a Quick skill guide card, and a Skills tab that lists VectorCraft's own skills with their tutorial counts and empty progress rings; a skill lists its tutorials, a tutorial shows its numbered steps, and Back goes up a level; `learn.list` and `learn.show {tutorial}` script it ([the help page](https://helpx.adobe.com/illustrator/desktop/get-started/learn-the-basics/learn-skills-quick-skill-guide.html); `panels::learn::tests`).
|
||||
- A tool's name in a Learn tutorial step is a blue link that shows where the tool is without choosing it (`learn.locateTool {tool}`): its toolbar button is marked, a collapsed group's flyout opens with the tool's row marked, a torn-off strip comes to the front, and a tool no shown toolbar holds is marked in the All Tools drawer. The mark, its 3 seconds and the hidden-toolbar cases are VectorCraft's own rules ([the help page](https://helpx.adobe.com/illustrator/desktop/get-started/learn-the-basics/learn-skills-quick-skill-guide.html); `panels::learn::tests`, the `a_learn_link_*` tests in `toolbar::tests`).
|
||||
- The errors of the blend spine commands (Move Spine Point, Reshape Spine Segment, Add Spine Point and Delete Spine Point) show in the status bar in the interface language: each has a row in every catalog that translates all status and error messages and in Bulgarian (`blend_spine_param_errors_are_translated`).
|
||||
- The errors of the parameter checks that many commands share show in the status bar in the interface language: a value that is not a number where a number goes (`object.move` with `"dx": "60 mm"`, and `object.rotate`, `object.setBounds` and the other commands that call `check_numbers`), a missing number or index, `ids` that are not a list of object ids, an object id that is not a non-negative integer or names no object, and a date that is not Unix seconds. Each has a row in every catalog that translates all status and error messages, and in Bulgarian, Danish, Indonesian and Dutch (`shared_param_check_errors_are_translated`).
|
||||
- Export commands run through MCP, the control channel or the CLI refuse a key that no format takes, and a command that writes one format (`document.exportPdf`, `document.exportEps`, `document.exportDxf`) or takes one format's options (`document.pdfSettings`, `pdf.preset.save`) refuses a key that format doesn't take. An unknown key inside `marks`, `bleed`, `compression`, `output`, `advanced`, `security` or `flattener` is refused by its path.
|
||||
@@ -906,6 +910,7 @@ Moved from the ROADMAP's "Shipped so far" on 2026-10-10. Update it when a featur
|
||||
- Tab shows and hides the panels (in the Type tool it types a tab) without moving the keyboard focus onto a field, so the next shortcut or letter still works; in dialogs and panel fields it moves between fields, one press each — a numeric field's scrub label is not a tab stop of its own, and the Transform panel's, Properties panel's and Control bar's W/H link comes after the fields it sits between (`one_tab_moves_from_a_field_to_the_next`). A field's up/down spinner, the chevron that opens its presets (Stroke Weight, font size, Rotate, Export for Screens' scale) and the Transparency row's opacity slider chevron are not tab stops either. Alt+↓ with no other modifier in a field with presets opens them with the keyboard focus on the chosen one, instead of stepping the field down; Enter picks the focused preset without pressing a dialog's OK, and after a pick or Escape the field has the keyboard focus again (`tab_goes_from_field_to_field_past_the_spinner_and_the_preset_chevron`, `tab_goes_from_the_opacity_field_past_its_slider_chevron`, `alt_down_opens_a_fields_presets_for_the_keyboard`, `escape_closes_a_fields_presets_and_returns_to_the_field`).
|
||||
- Shift+Tab (`window.panels`) shows and hides the dock and the floating panels and leaves the toolbar and the Control bar as they are; hiding the panels with Tab or Shift+Tab also closes a panel popped out of the icon column.
|
||||
- The second Tab (`window.dock`) shows again only the bars the first Tab hid, after a restart too: a Control bar that was off stays off, a toolbar hidden with Window › Tools stays hidden, and panels shown with Shift+Tab in between stay shown.
|
||||
- While Tab or Shift+Tab hides the panels, the Window menu checks no panel, and choosing a panel there, or pressing its function key, shows the dock with that panel in its earlier place instead of closing it; the toolbar and the Control bar stay as they are. In Presentation Mode no panel is checked, and `window.panel` fails and changes nothing. A tool double-click that opens the Gradient or Magic Wand panel and a Character field shortcut also show the hidden dock (`window_panel_from_tab_hidden_dock_reveals_named_front_tab`, `window_panel_from_shift_tab_hidden_floating_window_reveals_it`, `function_key_from_tab_hidden_dock_reveals_named_group`, `presentation_panel_command_reports_unavailable_without_mutating_layout`).
|
||||
- The function key shortcuts for Brushes, Color, Layers, Info, Gradient, Stroke, Attributes, Graphic Styles, Appearance, Align, Transform, Pathfinder, Transparency, and Symbols activate a background tab on the first press, hide its expanded dock or floating group when that tab is in front, and restore the group with all its tabs together on the next press; in an icon column they open and close the flyout while keeping the icons. A reassigned chord keeps that behavior, and Window > a hidden sibling restores the group.
|
||||
- On Windows and Linux, F2, F3 and F4 run Cut, Copy and Paste alongside Ctrl+X, Ctrl+C and Ctrl+V, and in the web build they do so everywhere except macOS. The Edit menu keeps the Ctrl shortcuts, and Keyboard Shortcuts lists both keys of each row. On macOS only Cmd+X, Cmd+C and Cmd+V are the defaults. F2, F3 and F4 do not run these commands in a focused text field or while the Type tool edits text. A saved shortcut set that assigns one of these keys to another command keeps that assignment. Public reference: [Default keyboard shortcuts](https://helpx.adobe.com/illustrator/using/default-keyboard-shortcuts.html).
|
||||
- Cmd/Ctrl+A follows the keyboard: in a panel, dialog or search field it selects the field's text, while the Type tool edits it selects all of that text (also `select.all` over MCP), and only otherwise every object. On macOS the menu bar's Select All, Cut, Copy and Paste (keys or clicks) act on a focused field too, and elsewhere the in-window menus' do: the field that had the keyboard when the menu opened gets them, with its selection, and the keyboard back (#516). Not yet: Select All across threaded frames (one frame's text is selected).
|
||||
@@ -933,12 +938,14 @@ Moved from the ROADMAP's "Shipped so far" on 2026-10-10. Update it when a featur
|
||||
- On Windows and Linux the app bar is the window's title bar (its own minimize, maximize and close buttons, drag to move, edges to resize), with the dragon app icon as the brand mark; dialogs and menus size to their content. As on a native menu bar, once one menu is open, moving the pointer onto another title opens that one.
|
||||
- On Linux and the BSDs, Preferences › User Interface › VectorCraft Title Bar on Every Desktop (off by default) uses the app bar as the title bar from the next start in the sessions where the desktop would draw the window's frame (X11, Wayland compositors with server-side decorations such as KDE Plasma, a window opened through XWayland). System Title Bar and `VECTORCRAFT_TITLEBAR` take precedence over it, and `VECTORCRAFT_TITLEBAR` also takes precedence over System Title Bar for the run it is set in. Only the values `app`, `system` and `desktop` take precedence (case-sensitive, surrounding spaces ignored); any other value, such as `unknown`, is ignored and does not override System Title Bar.
|
||||
- Edit › Keyboard Shortcuts lists items of the menu bar and panel menus, as the reference app's [Customize keyboard shortcuts](https://web.archive.org/web/20221205131209id_/https://helpx.adobe.com/illustrator/using/customizing-keyboard-shortcuts.html) page describes for its Menu Commands. A menu command with no default shortcut that needs a value a key press does not give, such as File › Document Setup › Units (`document.setUnits {units}`), is listed only while the user has changed its shortcut. A command stays listed when a menu bar item runs it without a value or when it opens a dialog run without one, as the Variables panel's commands do.
|
||||
- No two rows of Edit › Keyboard Shortcuts have the same English name (VectorCraft's own rule). A command that an item of the menu bar runs is listed under that item's menu path (Window › Swatch Libraries › Other Library…), a command whose id extends another command's id is listed under that command's label (Character Style Options › Reset Panel), and the rows that still share a name show their id after it, except the one row an item of the menu bar runs (File › New… and File › New… (file.new)). The search finds a row by the id it shows, and a message about a shortcut already in use names the other row with its group. Test `shortcut_editor::tests::no_two_entries_have_the_same_name`.
|
||||
- A shortcut on the key left of 1 runs whatever character that key types, and Edit › Keyboard Shortcuts, the menus in the window, the command palette and tool tips show it as that character once the key has been pressed: `"` on a Turkish Q layout, `~` on a US layout as before. Shortcuts saved as `~` keep working (#4559).
|
||||
- On Windows a maximized window stays inside the work area with the taskbar on any edge (#3242, #3723).
|
||||
- On Windows a maximized window stops one pixel short of each monitor edge where an auto-hidden taskbar sits.
|
||||
- **Tools:**
|
||||
- **Shaper:** uneven squares and rectangles become live rectangles even when drawing begins mid-edge. Recognition uses uniformly spaced samples and closed-loop corners, fits rectangle edges/angles rather than requiring a nearly perfect bounding-box fill, and includes the pointer-release position. Rectangles/squares and ellipses snap to 45° steps, hexagons to 90°, and triangles point up or down; lines keep their free angle even with Shift. Shaper Groups retain the live originals, merge regions with the gesture-origin fill, punch fills independently from strokes, remove boundaries on exiting scribbles and trim protruding stroke pieces. Source moves/resizes re-evaluate the result in the same undo step; double-click enters construction editing, and with the Shaper or Selection tool a click on the arrow widget beside a Shaper Group's original shapes switches the group between Face Selection and Construction mode. Native save/reopen, face recoloring, Release and Expand are covered. Finer gesture heuristics remain.
|
||||
In Construction mode, a Selection-tool drag that drops an original shape wholly outside the bounds of the group's original shapes takes it out of the group in the move's undo step (Remove from Shaper Group, `shaper.releaseSource`): the shape becomes a path above the group and stays selected, and a group left with no shapes is removed. Engine tests drag a shape out of a two-shape group and back across the bounds, take the last shape out, undo, and save the result.
|
||||
With a Shaper Group or one of its faces selected, a Shaper click within 3 screen pixels of an original shape's outline enters Construction mode with that shape selected, even where the outline runs through a merged face (`shaper.select`'s `tolerance`; [help page](https://helpx.adobe.com/illustrator/desktop/draw-shapes-and-paths/draw-shapes/create-shapes-with-the-shaper-tool.html)). Test: `tests::shaper::shaper_click_on_an_original_outline_enters_construction_mode`.
|
||||
- **Selection:** Selection, Direct/Group Selection, Magic Wand, Lasso. A Shift-drag marquee toggles what it reaches: objects with the Selection tool, anchors with Direct and Group Selection (#483); the Lasso adds with Shift and subtracts with Alt. Dragging a path segment with Direct Selection bends it when it's curved (its anchors stay) and moves its two anchors when it's straight, one undo step; the fill, Shift or Alt still pick the whole path (Alt-drag copies it).
|
||||
The search for the segment of a path nearest a point, which Direct Selection runs to pick the cursor over a segment, skips each segment whose anchors and handles lie in a box farther from the point than a segment already measured, starting with a segment at the anchor nearest the point. The segment found is the same as before. Over a segment of an open path of 200,000 anchors, the cursor takes 51 ms instead of 59 ms in a release build (`cargo run --release -p vectorcraft-engine --example anchor_bench`).
|
||||
A Direct Selection marquee over part of a segment, with neither of its anchors inside, selects that segment as a click on it does (Shift toggles it), as [Selecting objects](http://web.archive.org/web/20211230015528/https://helpx.adobe.com/illustrator/using/selecting-objects.html) describes (#4654).
|
||||
@@ -961,6 +968,7 @@ Moved from the ROADMAP's "Shipped so far" on 2026-10-10. Update it when a featur
|
||||
The command palette lists `select.key` as Cancel Key Object, and a pick cancels the key object (#541).
|
||||
Agent selection commands validate every object id before changing the selection and report the resulting count and ids (#784).
|
||||
Commands that act on `id` or else the selection, the highlighted layer row or a new object (`css.export`, `object.isolate`, `layer.locate`, `layer.releaseToLayers`, the graphic, character and paragraph style commands, `image.info`, the `links.*` and `shaper.*` commands that take an `id`, opacity mask editing and viewing, `symbol.edit`, the blend spine commands and `path.curvature`) refuse an `id` that is not an object id (`"abc"`, `"5"`, `true`) and change nothing; `effect.apply` with the effect given as `id` still applies it to the selection.
|
||||
`css.export` refuses a `scope` or `path` that is not a string (`5`, `true`, `["all"]`, `null`) before writing anything, instead of exporting the selection or returning the CSS as data; a left-out `scope` still exports the selection, and a left-out `path` still returns the CSS. `css.generate` and `css.export {scope: "all"}` refuse a malformed `ids` or `id`, which they do not use, as the selection's export does.
|
||||
Agents read the key object: `select.key` returns it, and `document.inspect` and the `ui.pointer` and `pointer_gesture` replies report it as `key`. `select.key` with an id that isn't a selected top-level object returns an error and leaves the key unchanged.
|
||||
The Select menu's Same commands, its Object commands that select art, Next Object Above and Below, saved selections and the Magic Wand (#2655) select only objects that Select All selects and objects inside them: nothing hidden or locked, nothing in a hidden or locked group, layer or sublayer, nothing on a template layer, and in isolation mode nothing outside the isolated group or layer. In isolation mode Select All, All on Active Artboard and Inverse select nothing while the isolated group or layer, or a group or layer it is in, is hidden, locked or a template layer.
|
||||
Select ▸ Object ▸ Bristle Brush Strokes selects the objects whose topmost stroke has a bristle brush, whatever the brush is named, and leaves out objects whose brush is of another type, also when its name has "Bristle" in it.
|
||||
@@ -1023,7 +1031,7 @@ Moved from the ROADMAP's "Shipped so far" on 2026-10-10. Update it when a featur
|
||||
- **Live Corners:** drag a live rectangle's corner widgets (Selection or Direct Selection) to round all corners, with a radius readout; with Direct Selection, select corner anchors to show and round just those corners (#381). Each corner keeps its own radius and kind (Round, Inverted Round, Chamfer): Alt-click a widget to cycle the kind, double-click it for the Corners dialog, and the Properties and Transform radius fields set the selected corners (`object.setLiveShape {corners, radius, kind}`). A link toggle behind Corner Radius (the `singleCornerRadius` preference) switches the panels to a field for each corner of a live rectangle: Top Left, Top Right, Bottom Right and Bottom Left. Corners stay circular when the rectangle is scaled unevenly or along its own sides when rotated (the radius keeps its size, or scales by the mean scale with Scale Corners on); only a shear distorts them. On a rectangle that isn't square every corner is the same circle: a radius past half the shorter side stops there for all of them, the widgets sit on the corners as drawn and turn the edited corners red at that limit, CSS export writes the drawn radii, and rectangles saved stretched by older versions get circular corners when their corners are next set (#442). Live Corners work on any path's corners too, as on a rectangle's (#511): a star's, a live polygon's (which also shows them to the Selection tool, has a Corner Radius field in the Properties and Transform panels and keeps its radius as its sides change) and a pen path's, wherever two sides meet at an angle at an anchor that isn't smooth: curved sides too, trimmed to what the cut leaves of them (#1144). Direct Selection shows the widgets of every corner, or of the corners holding selected anchors; each corner is a circle tangent to both sides, drawn no larger than takes its cut halfway along its shorter side; a path keeps its uncut outline so its corners stay editable, and the same command, dialog, angle preference and View › Hide Corner Widget apply. With Direct Selection a click on a widget (no drag) selects its corner, as a click on the corner's anchor does, so the next drag on it rounds that corner alone; Shift-click toggles it (#1239). While a corner widget is dragged with the Selection tool the bounding box hides, so the rounding shows against the path alone (#1229). A round corner next to a curved side curves smoothly instead of sticking out of the shape (#1547, fixes #1512).
|
||||
View › Hide Edges hides the Live Corners widgets, the bounding box and the type widget, and the selection tools then do not answer a press on them or change the cursor over them.
|
||||
- **Blend spine Anchor Point tool (#2544):** on a selected blend, dragging a spine corner makes symmetric Smooth handles; the tool displays and picks existing spine handles when switched to, drags one independently or retracts it on click, and clicking a point with handles retracts both. The spine is edited live without moving its key objects. Windows native canvas checks and screenshots reviewed: symmetric and independent handles, corner/retraction, Shift constraints and perpendicular reshaping, tool switching, key preservation, Undo/Redo, save/reopen, hidden handles and overlapping Path/Blend priority (PR #2643). Behaviour reference: [public path-editing documentation](https://helpx.adobe.com/illustrator/using/adjust-path-segments.html).
|
||||
- **Blend steps of brushed strokes:** the steps interpolate the pen pressure, tilt, bearing and rotation recorded with the Paintbrush, so a Calligraphic, Scatter or Art brush that varies with the pen changes gradually from one key to the next. A key without a recording counts as half pressure, half tilt and 0°, as brushes read it, and angles turn the shorter way round. Different brushes still switch halfway (VectorCraft's own rule; strokes blend their options, as [Blended objects overview](https://helpx.adobe.com/illustrator/desktop/manage-colors/apply-transparency-and-blending/blended-objects-overview.html) describes; `crates/doc/src/blend.rs`, `pen_pressure_tilt_and_angles_interpolate_for_brushes`).
|
||||
- **Blend steps of brushed strokes:** the steps interpolate the pen pressure, tilt, bearing and rotation recorded with the Paintbrush, so a Calligraphic, Scatter or Art brush that varies with the pen changes gradually from one key to the next. A key without a recording counts as half pressure, half tilt and 0°, as brushes read it, and angles turn the shorter way round. When the blend starts a key's path at another anchor (an open path run from its end, a closed one turned to another start), the key's recordings, width profile and arrowheads turn with the path. Different brushes still switch halfway (VectorCraft's own rule; strokes blend their options, as [Blended objects overview](https://helpx.adobe.com/illustrator/desktop/manage-colors/apply-transparency-and-blending/blended-objects-overview.html) describes; `crates/doc/src/blend.rs`, `pen_pressure_tilt_and_angles_interpolate_for_brushes`, `stroke_profiles_turn_with_a_key_path_started_elsewhere`).
|
||||
- **Path editing (#494):** the handles shown are the handles that drag: Direct Selection drags those of a path selected as a whole (as the Pen leaves it), the Anchor Point tool and Pen+Alt no longer grab handles that Show handles when multiple anchors are selected hides, a handle shorter than the tolerance leaves its anchor to be picked, and the anchor tools pick within Selection & Anchor Display › Tolerance. A dragged segment keeps a smooth anchor at either end smooth. With Direct Selection, the Pen, the Curvature and the anchor tools, a path selected as a whole shows all its anchors selected, and the Control bar and the Properties panel offer Convert (corner, smooth) for them too; Remove and Cut wait for anchors direct-selected (#504). A handle drag gathers its snap targets once per drag (it took 21 ms per pointer move on a 20,000-path document, now 1 ms; `vectorcraft-cli perf` measures handle and segment drags on a 5,000-anchor path). Join merges the selected anchor points that lie on one another, as after Average, into one anchor (#1582, fixes #1533); Object › Path › Average & Join… (`path.averageJoin`, Cmd+Alt+Shift+J, the "Create corner or smooth join" shortcut of [Default keyboard shortcuts](https://helpx.adobe.com/illustrator/using/default-keyboard-shortcuts.html)) moves two open path ends to their midpoint and joins them there, a corner or smooth point as its dialog's Points choice asks, in one undo step.
|
||||
- **Graphs:** Column, Stacked Column, Bar, Stacked Bar, Line, Area, Scatter, Pie and Radar graph tools with Graph Data and Graph Type. A series starts in greyscale; Group Selection's fill and stroke, the paint, weight, opacity and blend mode of a mark's top visible fill or stroke row after an Appearance command, the Eyedropper, a graphic style, Default Fill and Stroke or Swap Fill and Stroke, and a mark's object opacity and blend mode, are kept separately on the graph and reapplied when its data, type or size changes, and through save, open and undo. Graph Type's Override Calculated Values (both `axisMin` and `axisMax`) uses exactly that value-axis range, split into the tick count (5 when automatic). Line graphs take Edge-to-Edge Lines (off by default: the points sit at the centres of their categories; graphs saved before the option keep their edge-to-edge lines), and radar graphs follow Mark Data Points and Connect Data Points. Blank cells (an empty CSV cell or `null`) are values left out, not zeros: columns, bars and stacked segments skip them, lines and scatter lines break around them and the value axis ignores them, while area, pie and radar draw them as 0; a number in straight quotes is a label, and the data window writes it back quoted. Graph types combine: Graph Type on series picked with Group Selection (or `series` indexes) draws them as their own type, with column, stacked column, line and area mixing on the vertical value axis and bar and stacked bar on the horizontal one; stacked columns take one slot of the cluster, lines draw in front of columns and areas behind. The value axis goes on the left, the right or both sides (column, stacked column, line, area and scatter graphs; bar graphs keep theirs along the bottom), and Separate Scales gives the series assigned to the right axis a scale of their own with its own tick values. Each value axis takes tick marks of no, short or full (across the plot) length and a count per division, and a prefix and suffix for its numbers; the category axis takes tick marks too (none by default), at or between its labels. Graph designs: Object › Graph › Design lists the designs with a preview of the selected one, and New Design (the selected art), Rename, Delete Design, Paste Design (a copy back to edit) and Select Unused, and Marker draws the data points and legend swatches of line, scatter and radar series with a design, scaled so its backmost object fills the default marker's square. Graph Data transposes rows and columns and switches a scatter graph's x and y, and a `|` in a category or series label starts a new line. Pie graphs take Legends in Wedges, Position (Even, Ratio sized by area, Stacked on one centre) and Sort (None, All, First). Graph Type takes column and cluster widths up to 1000% (overlapping past 100%) with First Row and First Column in Front (First Row orders each series' categories; across series the series order decides, so series stay one group each for Group Selection), draws filled lines, adds drop shadows behind columns, bars, lines and wedges, and puts the legend in rows across the top. Text formatted with the Character, Paragraph or Appearance controls, on the whole graph or on labels picked with Group Selection, is kept per kind of label (value axis numbers, category labels, legend labels) through the graph being drawn again. Object › Graph › Data opens a worksheet: cells picked with a click and edited above the sheet (Tab moves right, Enter down, the arrows between cells), Import Data from a tab-separated text file, Transpose, Switch x/y, Cell Style (decimals shown, column width), Revert and Apply. `graph.setData` returns and takes the data as CSV with each value written exactly, not rounded to two decimals, so applying the returned CSV changes nothing (#1485).
|
||||
- **Graph column designs:** Object › Graph › Column (`graph.column`) draws the columns, bars or stacked segments and the legend swatch of the series picked with Group Selection with a graph design: Vertically Scaled stretches it to each column's length, Uniformly Scaled scales it both ways and centers it, Repeating stacks a copy for each Each Design Represents value and chops or scales the last one (For Fractions), and Sliding keeps the part above the design's guide line in proportion and stretches the part below. The dialog lists the designs with a preview; the choice is saved with the graph and follows the design's rename and delete.
|
||||
@@ -1222,8 +1230,9 @@ Moved from the ROADMAP's "Shipped so far" on 2026-10-10. Update it when a featur
|
||||
Type › Optical Margin Alignment (`type.opticalMarginAlignment`) hangs the punctuation and letter edges at the ends of a type object's lines outside its margins: at the left of left-aligned lines, at the right of right-aligned lines, and at both ends of centered and justified lines, in point and area type of left-to-right paragraphs. Quotation marks, hyphens, full stops and commas hang wholly; asterisks, tildes, ellipses, en and em dashes, colons and semicolons hang by half; and A, V, W, Y, v, w and y hang by a tenth of their width. It is off by default and saved with the type object. Justification's Glyph Scaling leaves the glyphs that hang at their width, so they hang exactly their share, and Standard burasagari counts what hangs at a line's start as room before hanging a comma; `crates/text/src/tests/hang.rs` checks whole paragraphs with both composers, ragged, centred and justified, with Line-end Punctuation Half Width and bidirectional lines.
|
||||
Optical Margin Alignment and Roman Hanging Punctuation hang right-to-left paragraphs of point and area type, and type on a path whose first paragraph runs right to left, too. Auto aligns a right-to-left line at its right, or at the end bracket of a path, so it hangs there. A right-to-left line is read from right to left: where it hangs at its left margin, `."` ending it hangs both glyphs.
|
||||
The Paragraph panel menu's Kinsoku Shori Type (`text.setFormat {kinsokuType}`, with the East Asian options) picks Push In First, Push Out First or Push Out Only for each paragraph: a character the Kinsoku Set keeps off a line's start or end is set on the line, with the line's gaps next to CJK characters closed by at most a tenth of an em each to fit, or moved to the next line with the character before it. Push Out First pushes in only when pushing out would leave the line more than an em short. Push Out Only is the default, the setting is saved only when it is not, and paragraph styles carry it.
|
||||
The Paragraph panel menu's Bunri-Kinshi (`text.setFormat {bunriKinshi}`, with the East Asian options, and the East Asian Composition Settings section of Paragraph Style Options) keeps inseparable pairs on one line in each paragraph that has it: two em dashes, two ellipses, two two-dot leaders and the two halves of a vertical kana repeat mark (the pairs of W3C JLREQ's class cl-08, VectorCraft's set). Both composers and vertical type follow it, and justification adds no space inside a pair. It works with a Kinsoku Set only, is off by default and is saved only when on; editing the set of pairs is not available.
|
||||
The Paragraph panel menu's Korean Line Break Anywhere (`text.setFormat {koreanLineBreakAnywhere}`, with the East Asian options, and the East Asian Composition Settings section of Paragraph Style Options) sets for each paragraph whether a line may break between any two Hangul syllables. When it is off, a word that contains Hangul breaks only at its spaces and after punctuation, or where the word is wider than the line, and takes no hyphen. New type has it off; paragraphs saved before the option read as on, so their lines do not move.
|
||||
The Paragraph panel menu's Reset Panel (`text.setStyle`, `text.setFormat` and `text.tabs.clear`) gives the selected type's paragraphs, or the paragraphs the Type tool's selection touches, Auto alignment, no indents or paragraph spacing, Hyphenate off with the default Hyphenation and Justification options, Auto direction, Bottom-to-Bottom Leading, the Line-end Punctuation Half Width Mojikumi Set, Regular burasagari, the Hard kinsoku set, Push Out Only, the Every-line Composer, Roman Hanging Punctuation and Korean Line Break Anywhere off, no kashidas and no tab stops, as one undo step.
|
||||
The Paragraph panel menu's Reset Panel (`text.setStyle`, `text.setFormat` and `text.tabs.clear`) gives the selected type's paragraphs, or the paragraphs the Type tool's selection touches, Auto alignment, no indents or paragraph spacing, Hyphenate off with the default Hyphenation and Justification options, Auto direction, Bottom-to-Bottom Leading, the Line-end Punctuation Half Width Mojikumi Set, Regular burasagari, the Hard kinsoku set, Push Out Only, the Every-line Composer, Bunri-Kinshi, Roman Hanging Punctuation and Korean Line Break Anywhere off, no kashidas and no tab stops, as one undo step.
|
||||
The Paragraph panel menu's Hyphenation… (`ui.hyphenation`, `text.setFormat {wordsLongerThan, afterFirst, beforeLast, hyphenLimit, hyphenationZone, hyphenateCapitalized}`) sets each paragraph's hyphenation limits: the shortest word that breaks, the fewest letters on each side of the hyphen, the most hyphenated lines in a row, a zone at the right edge where the Single-line Composer breaks before a word instead of hyphenating it, and whether capitalized words break. The defaults are words longer than 5 letters, 3 letters on each side, no limit or zone, and capitalized words hyphenated; paragraph styles and the native file keep the options.
|
||||
PDF export with type as text writes the hyphen that ends a line broken inside a word as a hyphen character where the line draws it, and the file opens with the hyphen in the line's text; kashidas are drawn as paths.
|
||||
The Paragraph panel's Insert Kashidas (with the Indic options; `text.setFormat {kashida}`) lengthens each Arabic word of a justified horizontal area type line with a kashida, a tatweel between its last pair of joined letters, before the word spaces widen: Short, Medium and Long kashidas are at most a quarter, half and a whole em long, Stylistic ones are whole tatweels up to an em, and None (the default) leaves the line as before; paragraph styles and the native file keep the setting.
|
||||
@@ -1261,6 +1270,7 @@ Moved from the ROADMAP's "Shipped so far" on 2026-10-10. Update it when a featur
|
||||
- **Image Trace, thin closed outlines:** generated `fit::snap_area_tests` verify nonzero interiors after straightening, opposite closed-boundary winding and Noise controls; see [quality notes](image-trace-quality.md#thin-closed-outlines-with-snap-curves-to-lines). Scores and hours unchanged; open-piece fitting is unchanged.
|
||||
- **Image Trace, curve fitting tolerance:** the outline fitter keeps cutting a run while a point stays farther than the tolerance from its curve, so a run of fewer than six points or one cut 14 times no longer keeps a piece over the tolerance. Pieces already within the tolerance do not change, and noisy art can get more anchors. Tests: `logo::bezier::tests`, `logo::outline::tests`. Scores and hours unchanged.
|
||||
- **Image Trace, gray photos:** Color and Grayscale smooth a gray photo within its tones before choosing its colors, as they do a color photo. A picture with at least 95% of its opaque pixels within 8 levels across their channels counts as continuous tone when 8 colors leave an error of more than 6 levels and more than 0.065 of the error of one color, instead of 0.1, unless 16 colors leave at most a fifth of the error of 8 (VectorCraft's own values). That exception keeps gray flat art of up to 16 clean levels on its old route; anti-aliased or noisy gray flat art can now count as continuous tone too. Most gray photos the change reaches, and very noisy gray scans of flat art, trace with fewer specks and fewer staircase edges. Some 16 Colors and High Fidelity Photo palettes of gray photos grow toward the requested count, with more anchors and regions. Some gray illustrations and sketches get more anchors and staircase edges at 16 Colors and High Fidelity Photo, and some 6 Colors traces get more staircase edges. Tests: `tests::a_gray_photo_is_continuous_tone_as_its_color_original_is`, `tests::a_gray_photo_is_smoothed_before_it_is_traced`. Scores and hours unchanged.
|
||||
- **Image Trace, tinted photos:** Color and Grayscale smooth a sepia, single-hue or duotone photo within its tones before choosing its colors, as they do a gray photo. A picture with at least 95% of its opaque pixels within 6 levels of its tone curve counts as continuous tone under the same 0.065 rule as a neutral picture. The tone curve runs through the median color of each 8-level stretch along the direction in which the picture's colors spread the most, and a pixel on it must also lie within 6 levels of the plane the colors spread along most, so art in several unrelated colors is not counted (VectorCraft's own rule and values). The neutral rule's exception for 16 colors leaving at most a fifth of the error of 8 applies to it too. Clean tinted bands of 2, 3 and 9 levels and tinted scans of flat art with up to 8 levels of noise stay on the flat-art route. On the synthetic tinted photos the 16 Colors trace keeps 12 to 15 colors instead of 6 to 13, with 525 to 708 anchors instead of up to 1,402. A duotone with strong noise on each channel can still miss the curve and stay unsmoothed. Tests: `tests::a_tinted_photo_is_continuous_tone_as_a_gray_photo_is`, `tests::small_accents_of_other_colors_leave_a_tinted_photo_continuous_tone`, `tests::tinted_flat_art_stays_flat_art`, `tests::pictures_without_tones_are_not_continuous_tone`, `tests::a_tinted_photo_is_smoothed_before_it_is_traced`. Scores and hours unchanged.
|
||||
- **Image Trace, Document Library color groups:** with Document Swatches, the panel's Colors menu and `"colorGroup"` trace with one color group's colors instead of every swatch, as the public panel documentation describes Document Library; code-drawn tests in `crates/engine` and the panel.
|
||||
- **Image Trace, Document Library colors:** with Document Swatches, traced fills and strokes use the displayed colors of process, global, spot and tint swatches without links, so editing a swatch leaves the trace unchanged; swatch-library colors are also unlinked; code-drawn tests in `crates/engine`.
|
||||
- **Image Trace, flattened slivers:** in a Color, Grayscale or Black and White trace with Fills, a traced region whose outline straightens onto one line (a single pixel, or a one-pixel row along an edge, its pieces shared with the regions beside it) is left out instead of becoming a selectable path with no area, which paints nothing. Snap Curves To Lines straightens more outlines, so it leaves out more of these. Without Fills, the region's 1 px stroke draws it, and it is kept. Code-drawn tests in `crates/trace`.
|
||||
@@ -1290,6 +1300,7 @@ Moved from the ROADMAP's "Shipped so far" on 2026-10-10. Update it when a featur
|
||||
- **Several mesh points at once (#4207, #4208, #4170):** the Mesh tool and Direct Selection pick several points of a gradient mesh or mesh envelope: Shift-click adds a point or takes a picked one away, Direct Selection's marquee picks the points inside it (Shift toggles them) and selects their meshes, and its click on a mesh line picks the line's two ends and one inside a patch the four points around it. The picked points show filled; dragging one moves them all as one undo step and the arrow keys nudge them (`object.mesh.movePoints {id, points, dx, dy}` or `{items, dx, dy}`), and a click on one of several picked points picks it alone. A solid fill colour (`paint.setFill`: Color panel, Swatches, Eyedropper) recolours every picked point, and the Transparency panel's Opacity fades them instead of the object, the panel showing their opacity (blank when it differs); `object.mesh.setPointColor` takes `points` or `items`. Public reference: [Edit mesh objects](https://helpx.adobe.com/illustrator/desktop/paint-and-fill/create-and-edit-meshes/edit-mesh-objects.html) (Shift selects multiple mesh points; a fill colour colours the selected point), [Macworld, gradient mesh](https://www.macworld.com/article/202693/gmesh2.html) (Direct Selection: a mesh line selects the points at both ends, a patch the points around it, Shift-click adds or removes points), [Peachpit](https://www.peachpit.com/articles/article.aspx?p=1638270) (each mesh point can have its own colour or transparency). Tests: `shift_clicks_pick_mesh_points_that_drag_and_nudge_together` and `direct_selection_picks_mesh_points_by_marquee_line_and_patch` in `crates/tools/src/meshedit.rs`, `picked_mesh_points_take_the_fill_opacity_and_drag_together` in `crates/engine/src/tests/editcolors.rs`, `mesh_points_move_and_colour_together` in `crates/engine/src/tests/live.rs`. Scores and hours unchanged.
|
||||
- **Image Trace Flat Logo mode:** a fourth mode beside Black and White, Grayscale and Color, for flat-colour logos. Each pixel is read as a blend of the logo's colours (found automatically or named), the blend is interpolated smoothly and every outline is placed where two colours are equally present, so edges are accurate to a fraction of a pixel. Outlines are then cleaned: corners the blur rounded are put back, near-straight runs and near-circular arcs become exact lines and arcs, the rest is fitted with as few Béziers as the tolerance allows, touching colours overlap by a hair so no gap opens, and an outline that strays from the raw contour is fitted plainly instead. Gradients and photos are refused with advice to use Color. Line art whose only solid area is white paper (strokes a pixel or two wide) takes its colours from the strokes' cores, with the lighter shades along a stroke's anti-aliased edge folded into its ink; a page whose ink (a channel at least 48 below white) covers under 1% of it traces to nothing, as blank paper does. *Measured* (a local experiment, not run in CI): a flat-colour logo's vector original was rendered down to a soft 199 × 100 px transparent PNG, traced, and the result compared with the original at 1600 px wide. The built-in colour presets (6 Colors, 16 Colors, High Fidelity Photo, Low Fidelity Photo) had a mean edge error of 2.5 to 3.4 px and region overlap of 0.88 to 0.91; Flat Logo had 0.78 px and 0.966 (0.48 px and 0.975 from a crisp source), in about 0.1 s. Limits: flat-colour art only; needle-thin sharp tips are shortened by about 1.7 source pixels because the blur erases them; it works at no more than 1024 px on the long side (larger images are averaged down first); only one logo family has been scored against a vector original.
|
||||
- **Image Trace, Flat Logo named colors only:** with `logoColors` named, `"logoWhite": false` traces those colors only, so white areas take the nearest of them and no white is added; a named white is kept, and enclosed transparent areas stay holes; code-drawn tests in `crates/trace` and `crates/engine`.
|
||||
- **Image Trace, Flat Logo flat-art check with named colors:** with `logoColors` named, whether the image is flat art is judged by its own colors, as many as are named, with white, or as the Colors setting gives, whichever is more. Named colors 20 levels off a flat badge's colors still trace it, a hatch on a light ground gives the same result with close and far named colors, a gradient's refusal score does not depend on how far the named colors are from it, and areas of colors that were not named are traced in the named colors instead of being refused; code-drawn tests in `crates/trace`.
|
||||
- **Image Trace, Keep Colors:** `"keepColors": ["#rrggbb", …]` traces only the palette colors near a listed color (Abutting: each with the paths the trace of every color gives it; Overlapping: not reaching under the colors left out), in Black and White, Grayscale and Color; code-drawn tests in `crates/trace` and `crates/engine`.
|
||||
- **Advanced art:** live Blends (steps/distance/smooth colour, editable spine, anchor-targeted Blend tool, faithful interpolation, knockout), Envelope Distort (warp/mesh/top object, Reset, full Envelope Options, mesh handles, Edit Contents; type, images, symbols, gradients, patterns and appearance distorted everywhere), Liquify tools with options and pen pressure, Puppet Warp with rotating pins, Perspective Grid with presets, movable planes and projected type (choosing a perspective tool shows the grid; Hide Grid hides it with the tool still chosen), Gradient Mesh, Shape Builder (stroke-only open paths and lines cut the regions they cross and enclose regions of their own, and regions they bound merge without seams where the lines cross at rounded coordinates (#893); filled open paths count as closed; erase mode while Alt/Option is held: a minus pointer, red highlights of what will go, a click or drag deletes the regions touched, the pieces of open lines and the edges (outline pieces between the points where paths meet, opening their paths there) it passes over, one undo step, `shapeBuilder.merge {erase}` and `shapeBuilder.regions` edges over MCP), Live Paint (every path an edge, open lines included), Image Trace (12 presets, colour layers traced in parallel; a trace past two million anchor points is refused with advice rather than running out of memory, an image over 64 megapixels is traced scaled down to that size (aspect kept, paths at the image's own size) and one over 192 megapixels is refused, and a selection too large to outline shows its bounds (#525); Object › Image Trace › Make and Make and Expand trace at once with the Default preset, #543; with an image selected the Control bar and the Properties panel show Image Trace, whose arrow traces with any preset, Mask (`object.maskImage`: a clipping path on the image's outline, selected so its handles crop), Crop Image (a crop box on the image, starting on its part over the artboard, dragged by its handles or inside it, the outside dimmed, with X/Y/W/H, Apply and Cancel in the Control bar, Enter and Escape, #734; an image that isn't turned or skewed, isn't CMYK and can be read at its recorded size is cut from its own pixels when the crop edges fall on its pixel grid, copied as they are without resampling; any other image is drawn, #5534; `object.cropImage {rect}` for agents, `{trim: true}` cuts an image to its pixels that aren't fully transparent, pixel for pixel) and Embed or Unembed in place of Fill and Stroke; with an Image Trace object selected, its Preset (choosing another traces again), View, the Image Trace panel and Expand, plus Release in Properties; the five View modes (Tracing Result, with Outlines, Outlines, Outlines with Source Image, Source Image) redraw a trace on screen without tracing again, are saved with it and `imageTrace.setView` sets them, while exports and Expand keep the result; the panel's Advanced section is a header that stays open or closed as it was left (part of #641); Color mode's Palette: Limited, Full Tone (as many colours as the tones need, Less … More), Automatic (flat art with its own colours, else Full Tone; a heuristic) and Document Library (the most used colours of the document's swatches or a swatch library, filled with the swatch colours as they are), part of #641; Advanced › Create: Fills and/or Strokes, where lines up to the Stroke width trace as stroked centre lines (distance transform, thinning, a skeleton graph with spurs pruned, curve fitting; one width per line; without Fills, wider areas become stroked outlines), part of #641), pattern swatches with pattern editing mode, live Repeat (radial/grid/mirror). A single selected mirror repeat shows a prominent axis with a center move handle and two rotation handles. Drag the line or center to change spacing, or an end to change angle; Shift snaps rotation to 45°. The original artwork stays in place, the reflected copy previews live, Escape cancels and each drag takes one undo step through `object.repeat.options`. Controls follow zoom/view rotation and hide with edges or the bounding box. Engine and headless canvas regressions passed for gestures, history and visibility; native move, rotation and Escape screenshots were reviewed. [Public mirror-repeat reference](https://helpx.adobe.com/illustrator/desktop/paint-and-fill/create-and-edit-patterns/set-mirror-repeat-options.html). A single selected grid repeat shows a handle below the grid for rows, one right of it for columns and one past its bottom-right corner for both, and sliders between its first two columns and rows for the horizontal and vertical spacing; the source keeps its size, each drag is one undo step and Escape cancels it ([public grid-repeat reference](https://helpx.adobe.com/illustrator/desktop/paint-and-fill/create-and-edit-patterns/set-grid-repeat-options.html), #2691). Object › Expand turns radial, grid and mirror repeats into groups of their instances (#1765, #1756).
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Choosing the Blend tool again while it is active (its toolbar button, W or `tool.select`) finishes the blend: the object clicked first is dropped and the next click no longer adds to the blend just made, so the click after it starts a new blend ([Blending objects](https://web.archive.org/web/20241217212108/https://helpx.adobe.com/illustrator/using/blending-objects.html)).
|
||||
@@ -2035,7 +2046,7 @@ A VectorCraft addition (it replaces a script some users ran), so no area score m
|
||||
|
||||
## Image Tools add-on: Remove Background (2026-11-11)
|
||||
|
||||
A VectorCraft addition, so no area score moves. Object › Plug-ins › Image Tools › Remove Background… (`addon.image.removeBackground`) makes the background of the selected images transparent in their own pixels, in the app with no service or model. The background is the most common edge color (nothing is cleared when the edges hold at least as many clear pixels as pixels of that color), the average of the corners that are not clear, or picked colors. Contiguous (on by default) clears it only where it reaches in from an edge; off, it is cleared everywhere. Tolerance and Softness (0 to 100, 10 by default, VectorCraft's own values) set how near a color is cleared and the band over which pixels fade out, measured as RGB distance or, with Match set to Each Channel, as the largest difference on one channel. The run is one undo step, and none is recorded when no pixel changes. The image stays an image: a PNG with alpha at its own bit depth, gray or color as it was, with its color profile and resolution, and a linked image is embedded. CMYK images, linked images that show their preview, images that would need more than the decode allowance and results with no pixel left are refused. The dialog's Preview works as Release Type on a Path's does; its preview steps decode an image once, and the decoded pixels are released when the dialog closes. Tests: `cmd::addons::image::tests` in `vectorcraft-engine` (edge, corner and picked colors, contiguous on and off, a second run, tolerance and softness by distance and by channel, 16-bit and gray images, the color profile and resolution kept, an image read at another size, linked images, refusals and bad params, and decoded pixels reused across preview steps and released at OK and Cancel), `addons::image::tests::remove_background_previews_cancels_and_runs_on_ok` in `vectorcraft-ui-egui` and `command_sweep`. Commands: `docs/mcp.md` › Image Tools add-on. Since 2026-11-12 a selected image also offers Remove Background in the Contextual Task Bar, Properties › Quick Actions and the Control bar, where the reference app offers it (<https://community.adobe.com/announcements-651/ai-powered-image-editing-features-in-illustrator-1624061>); a click runs it at once with the defaults, as one undo step (tests `canvas::tests::the_task_bar_removes_a_selected_images_background` and `addons::image::tests::properties_and_the_control_bar_remove_the_background_at_once`).
|
||||
A VectorCraft addition, so no area score moves. Object › Plug-ins › Image Tools › Remove Background… (`addon.image.removeBackground`) makes the background of the selected images transparent in their own pixels, in the app with no service or model. The background is the most common edge color (nothing is cleared when the edges hold at least as many clear pixels as pixels of that color), the average of the corners that are not clear, or picked colors. Contiguous (on by default) clears it only where it reaches in from an edge; off, it is cleared everywhere. Tolerance and Softness (0 to 100, 10 by default, VectorCraft's own values) set how near a color is cleared and the band over which pixels fade out, measured as RGB distance or, with Match set to Each Channel, as the largest difference on one channel. The run is one undo step, and none is recorded when no pixel changes. The image stays an image: a PNG with alpha at its own bit depth, gray or color as it was, with its color profile and resolution, and a linked image is embedded. CMYK images, linked images that show their preview, images that would need more than the decode allowance, results with no pixel left and grayscale images colorized with a process color are refused (the result has an alpha channel, and a process color can't colorize a grayscale image with one: [Convert color modes](https://web.archive.org/web/20251220223850/https://helpx.adobe.com/illustrator/desktop/manage-colors/select-and-adjust-colors/convert-color-modes.html), "Colorize Grayscale or 1-bit images"). The dialog's Preview works as Release Type on a Path's does; its preview steps decode an image once, and the decoded pixels are released when the dialog closes. Tests: `cmd::addons::image::tests` in `vectorcraft-engine` (edge, corner and picked colors, contiguous on and off, a second run, tolerance and softness by distance and by channel, 16-bit and gray images, the color profile and resolution kept, an image read at another size, linked images, refusals and bad params, and decoded pixels reused across preview steps and released at OK and Cancel), `addons::image::tests::remove_background_previews_cancels_and_runs_on_ok` in `vectorcraft-ui-egui` and `command_sweep`. Commands: `docs/mcp.md` › Image Tools add-on. Since 2026-11-12 a selected image also offers Remove Background in the Contextual Task Bar, Properties › Quick Actions and the Control bar, where the reference app offers it (<https://community.adobe.com/announcements-651/ai-powered-image-editing-features-in-illustrator-1624061>); a click runs it at once with the defaults, as one undo step (tests `canvas::tests::the_task_bar_removes_a_selected_images_background` and `addons::image::tests::properties_and_the_control_bar_remove_the_background_at_once`).
|
||||
|
||||
## Color Effects add-on: Find Nearest Swatch (2026-11-01)
|
||||
|
||||
|
||||
+2
-1
@@ -374,7 +374,7 @@ next unit in the order a right-click on a ruler lists them, from Feet back to Po
|
||||
|---|---|---|
|
||||
| Effect > Warp Options: style previews, orientation choices and percent controls | done | #1760; focused input, mixed-style and history checks passed; original captures reviewed. No geometry or optional Properties changes. |
|
||||
| Command search: Up and Down move through the results, Enter runs the highlighted one | done | #1798 (#1757) |
|
||||
| Learn panel: Window › Learn and Explore tutorials on the app bar open it; For you holds a Quick skill guide card, Skills lists VectorCraft's own skills with tutorial counts and empty progress rings, a tutorial shows its numbered steps, Back goes up a level | done | [the help page](https://helpx.adobe.com/illustrator/desktop/get-started/learn-the-basics/learn-skills-quick-skill-guide.html); `learn.list`, `learn.show`; `panels::learn::tests` |
|
||||
| Learn panel: Window › Learn and Explore tutorials on the app bar open it; For you holds a Quick skill guide card, Skills lists VectorCraft's own skills with tutorial counts and empty progress rings, a tutorial shows its numbered steps, Back goes up a level; a tool's name in a step is a link that marks the tool where the toolbars show it (its button, its group's flyout, a torn-off strip, a toolbar made with New Toolbar or the All Tools drawer) without choosing it | done | [the help page](https://helpx.adobe.com/illustrator/desktop/get-started/learn-the-basics/learn-skills-quick-skill-guide.html); `learn.list`, `learn.show`, `learn.locateTool`; the mark's look and 3-second lifetime are VectorCraft's own rules; `panels::learn::tests`, `toolbar::tests` |
|
||||
| Pathfinder panel: a group selected alone counts its nested shapes, so an expanded stroked object keeps the Shape Modes enabled | done | #1642 (#1635) |
|
||||
| Selected Grid Repeat shows row, column and corner handles and spacing sliders; bounding-box handles take priority where they meet | done | #2691, `tools/src/repeat_grid.rs`; [public behavior reference](https://helpx.adobe.com/illustrator/desktop/paint-and-fill/create-and-edit-patterns/set-grid-repeat-options.html); drags preview and commit `object.repeat.options` as one undo step, Escape cancels; Radial Repeat has no handles yet |
|
||||
| Grid Repeat Options (Object › Repeat › Options…) has a Preview checkbox: the repeat on the canvas follows the fields while the dialog is open, Cancel puts the original back without a history step, OK keeps the previewed values as one undo step | done | #2651; [public behavior reference](https://helpx.adobe.com/illustrator/desktop/paint-and-fill/create-and-edit-patterns/set-grid-repeat-options.html) lists the Preview option for the grid options only, so Radial and Mirror Repeat Options have none; `dialogs/command.rs` tests |
|
||||
@@ -410,6 +410,7 @@ next unit in the order a right-click on a ruler lists them, from Feet back to Po
|
||||
| Select › Start Global Edit / Stop Global Edit; Properties › Quick Actions with the Global Edit Options popover (Match: Appearance, Size; On Artboards: All Artboards or a range, Include Objects On Canvas; Result(s)); Escape stops it; the matched objects are highlighted in their layer colour while it runs; a Shift-click on a highlighted match leaves it out | partial | #3521, `select.globalEdit` / `select.globalEditOptions` / `select.globalEditExclude`, `crates/engine/src/tests/globaledit.rs`; paths, compound paths, symbol instances and groups of them (similar groups, #4939: edits inside one group reach the same object in the others; [public source](https://helpx.adobe.com/illustrator/desktop/manage-objects/edit-objects/edit-groups-with-similar-objects.html)); Shift-click to leave a match out ([public source](https://helpx.adobe.com/ph_fil/illustrator/how-to/global-editing-sensei.html)); the Control bar's Global Edit Options dropdown opens the same options; rotated copies and highlighting matches before the start remain ([public source](https://helpx.adobe.com/illustrator/desktop/manage-objects/edit-objects/edit-similar-objects.html)) |
|
||||
| Contextual task bar | done | |
|
||||
| Control bar with Transform and Stroke popovers | done | |
|
||||
| Stroke panel: custom arrowheads after the built-in ones in both arrowhead menus, from the arrowheads file that the panel menu's Edit Arrowheads… opens; saving the file reloads the menus, and a stroke keeps a copy of its custom head's art | done | [Apply stroke on an object](https://helpx.adobe.com/illustrator/using/stroke-object.html) (Customize arrowheads); the file's layout (one symbol per head, pointing right, tip at the registration point, height drawn as wide as the built-in heads) is VectorCraft's own; `stroke.arrowheads.edit`, `stroke.arrowheads.list`, `stroke.arrowheads.reload`, `stroke.set` `{custom: name}`; engine `tests::arrowheads`, `stroke::tests_arrows::custom_heads_draw_their_own_art_at_the_tip` |
|
||||
| Control bar: Paragraph: link and Align left/center/right while type is selected (#5372) | done | After the Character controls, as the public documentation has the Control panel format paragraphs ([Paragraph panel overview](https://helpx.adobe.com/illustrator/using/formatting-paragraphs.html), [Align text](https://helpx.adobe.com/illustrator/using/align-text.html)); the link opens the Paragraph panel in a popover, as Character: does with the Character panel. The bar trims from its right end: X/Y/W/H, Distribute, Align, area type vertical alignment, then these buttons, then the link. The three-button set is our choice for room; all seven alignments are in the popover. `panels/paragraph/tests.rs` headless tests (`the_control_bar_shows_the_paragraph_alignment_of_the_selected_type`, `the_control_bar_trims_its_paragraph_section_after_the_controls_to_its_right`) |
|
||||
| Pathfinder shape results keep their source names and SVG IDs | done | #1293; Minus Front keeps the back name, Minus Back the front name; Unite/Intersect/Exclude use the backmost named input; compound output carries it once; geometry and paint unchanged |
|
||||
| Attributes fill-rule controls with a compound member selected | done | Edits the compound's rule; direction still edits only the member; rendered-hole and Undo/Redo regression tests (#1197) |
|
||||
|
||||
Reference in New Issue
Block a user