With several rows highlighted, Layer Options shows the first row's
settings, and OK sent Show, Lock, Color, Template, Print, Preview and
Dim Images to layer.setProps for every row. Changing one setting gave
every row the first row's values for all of the others as well.
The dialog now records each setting set by one of its controls or by
ui.dialog.set, and for several rows OK sends only those. A setting set
to the value the dialog shows is still sent, so choosing the first row's
color gives every row that color.
When Template changes and Lock and Dim Images are not set in the dialog,
OK does not send them. layer.setProps then locks each row that becomes
a template and dims it to 50%, unless a percentage is set in the dialog,
and unlocks and stops dimming each row that stops being one. When
Template is turned on, the dialog shows that 50%. When Template is set
back to the first row's value, the dialog shows the first row's Lock,
Dim Images and percentage again. A Dim Images percentage set in the
dialog is sent whenever Dim Images is on, also when Template turned it
on.
ui.dialog.set of template now also sets locked and dimImages, as the
Template checkbox does, for one row as well as several. Before, a script
that set template to true and confirmed the dialog left the layer
unlocked and undimmed.
The Dim Images percentage field now has the accessible name "Dim Images
to:", as its checkbox has.
Window › Toolbars › Manage Toolbars… and Manage Toolbars… in the All Tools
drawer's menu open a dialog that lists the toolbars made with New Toolbar.
A name typed for the selected toolbar renames it, + copies the selected
toolbar or, with none selected, makes a new one, and the trash can deletes
it (https://helpx.adobe.com/illustrator/using/tools.html, Manage toolbars).
VectorCraft's own details:
- A rename applies at Enter, when the text box loses focus, or at OK. The
name follows New Toolbar's rules: not empty, at most 200 characters, and
not another toolbar's in any case.
- A copy is called "<name> Copy" (then "<name> Copy 2"), shows a little
below the toolbar it copies and below earlier copies; a new toolbar is
called "Toolbar N".
- Each change applies at once; deleting also removes the groups torn off
the toolbar.
- When the typed name is refused, a click on +, the trash can or another
toolbar is not applied, so the name can be corrected. When the selected
toolbar is deleted elsewhere while the dialog is open, none is selected.
- Renaming or deleting a toolbar closes the All Tools drawer and a group's
flyout open on it; a change of case only leaves them open, and the Tools
panel's flyouts and other toolbars' stay open.
- Each change shows under Window › Toolbars and is kept with the workspace.
New commands: window.toolbar.manage, window.toolbar.rename,
window.toolbar.duplicate and window.toolbar.delete, with catalog rows for
their labels in every language.
Docs: control-protocol.md, gaps.md, target-app-parity.md, ui-parity.md.
Part of #1759
When the layers fail the comparison with the file's own page because some objects draw
differently (an object in another color, or one that only one side draws), the import finds
each top-level object whose bounds hold a patch of such pixels (the smallest one that holds it)
and replaces it with the page's art in its bounds, in the same way as an unread object. It then
compares the layers with the page again. When that comparison passes, the layers stay, and a
warning names the layer or sublayer of each replaced object (`<Layer>` for one without a name)
and how many were replaced on it. Like the warning for unread objects, this warning counts as
a loss, so an export or Save As to the file's own path needs `acknowledgeLoss: true`. A
replaced wrap object keeps its wrap options, and area type is wrapped again around the page's
art. Placed files at their other placement are tried too when the first placement can't be
kept.
The file still comes in as its PDF part, with the same reason, when only edges or type differ,
when a difference lies outside every top-level object, when more than half of the top-level
objects (or more than 64) hold one, when such an object is or holds type or holds a wrap object
inside a group, when the page's type of a text object that stays would be copied into a
replacement, when the page's art can't replace an object for the reasons it can't replace an
unread one, when matching the differences to the objects would take too much work, or when the
second comparison still fails. Trusting the editing data keeps the objects as read.
The task bar offered no Type on a Path item for a selected type on a
path: of the type actions, it showed only Create Outlines. It now also
offers Type on a Path Options, which opens the same dialog as Type ›
Type on a Path › Type on a Path Options, with the selected type's
effect, alignment and spacing filled in. Point and area type keep
their Convert To Area Type and Convert To Point Type buttons.
Select > Same > Font Family, Font Family & Style, Font Family, Style & Size,
Font Size and the text fill and stroke color commands took the type to match
from the first type found among the selected objects. Type that is hidden or
locked inside a selected group, type on a template layer and type outside the
isolated group could set the reference. They now take it from the type that
Link Block Series starts from, in the same selection order. A selection whose
only type cannot be selected returns "select a text object".
Window > New Window was grayed out. It now opens another view of the
current document, with its own zoom, center, rotation, artboard and
Outline or Preview, as a tab of its own. While a document has more than
one view, each tab shows the view's number after the name
("Untitled-1:2"). An edit in one view shows in every view of the
document.
Tile, Cascade, Float in Window, Float All in Windows and Consolidate All
Windows arrange each view as they arrange a document, and Tile and
Cascade are enabled with two views of one document. A new view of a view
in a floating window opens in a floating window too. File > Close and a
tab's close button close the view; the document's last view closes the
document, asking to save it first. Next Document and Previous Document
step through the views in tab order.
Each Tile pane and floating window draws its view in its own Outline or
Preview, and switching views with the Artboard tool targets the artboard
the view shows. A switch to another view of the current document resets
the tool, as a switch to another document does (Session::reset_tool).
Artwork held over another view's tab during a drag switches to that
view, and a drop there moves it.
Fixes#4116
The Contributors table and the Models table were egui Grids inside a
two-way scroll area: they opened wider than the dialog, so they scrolled
sideways, and Company and Model sat almost touching. Both are now
egui_extras tables. Each column opens at the width of its header and widest
cell, the spare width goes to the text columns (Name; Company and Model),
and every column edge can be dragged. Widening a column grows the table
like a spreadsheet, and only then does it scroll sideways; the header stays
put while the rows scroll. Counts and dates are right-aligned and every
cell is vertically centred.
The sorted column stays highlighted and its direction shows on the
toolbar's sort-order button, so headers no longer reserve room for an
arrow. The opening widths come from fit_widths, a pure function with unit
tests that a fitted table fills its room exactly and that only the text
columns give way when room is short.
The About dialog opens 820 points wide, so every column fits at its natural width.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Regions are a linked list of pixels with a union-find over region ids instead of a Vec<usize> per region and BTreeMaps per merge. Same merge order and output; about 2.7x less peak memory and up to 1.9x faster on 25 MP noisy labels.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
The bilateral smoothing pass worked out a squared colour distance, a powi, a
division and a weight for every pixel and neighbour, and called round() per
channel. The distance is a whole number up to 195,075, so the weights come from
a table built once per trace, and the rounding is a truncation plus a compare
that gives the same level as round() for 0..=255. Rows are read through slices.
The output is byte for byte what it was; tests compare the pass with the old
formula on several images and on every pair of grey levels.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Add Anchor Points builds the new anchor list in one pass, Swatch Library add looks names up in sets, full_documents dedups placed keys with a set, width profile lookups and mark insertion use binary search, and the symbolism tools cap and thin the previews of a long drag as Liquify does.
For every hole (when growing) or island (when insetting), the check measured the
distance to every segment of the input with the nearest-point search and took the
minimum, so the cost grew with holes x segments. Segment bounding boxes are now
computed once, a segment whose box is farther than the offset distance is skipped,
and the search stops at the first segment that is close enough. The decision is the
same as before; a test compares it with the old full scan on random segment sets.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Of two files read off the UI thread and ready in the same frame, the
first could open and ask about its links or fonts, and the second then
became the active document under that dialog. poll now checks
may_switch after each file it opens too, and leaves the rest for a
later frame.
The queued-reopen test also checks that a later queued activation
stays queued.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A document asked for again while a dialog was open, and closed
meanwhile, opens again when the dialog closes and may ask about its
links or fonts. poll went on to finish the files read meanwhile, and
each became the active document under that dialog. It now checks
may_switch after each queued activation and leaves the rest, and the
files ready to open, for a later frame.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A document asked for again while a dialog was open was queued by path
only, and opened later in the scope of the frame that ran the queue. A
request confined to automation roots could then read a file outside
them, if the document was closed meanwhile and its path became a link
out of the roots. Each queued activation now carries its ScopeHandle
and runs in it, as background opens already do.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Follow-ups to #5369 (#5420), from its last review:
- Home shown over the document asked for again gives way to it.
- Automation confined to some folders can't reach an open document
outside them: open_file checks read access before looking for a tab.
- While a dialog or a drag acts on the active document, a document asked
for again comes to the front once it ends (opening::poll), as a file
that finishes opening already does.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Option errors and notes for a .ai save called the file a
"PDF-compatible .ai" even when the save wrote a version 7 file
(aiVersion: "7") or a file without PDF content (pdfCompatible: false).
- Option errors: a version 7 .ai is now called a "legacy .ai
(version 7)" in the errors for its artboard, artboards and range
options. A .ai saved without PDF content is called a
"non-PDF-compatible .ai" in every .ai option error (includeLinked and
embedProfiles included), and a "non-PDF-compatible .ait template"
when Save as Template writes it. aiVersion: "7" takes precedence over
pdfCompatible: false, as it does when the file is written.
- The error for encoding a version 7 .ai of several artboards as one
file names the legacy .ai.
- The note for a native option the file does not read (version,
preview, precision) names the same kind of file.
- The error for aiVersion: "7" on a .ait template no longer says that a
.ait template is always PDF-compatible, since Save as Template writes
one without PDF content. It now reads "aiVersion 7 writes legacy .ai
files, not .ait templates", with its rows in the message catalogs
updated.
A PDF-compatible file keeps its name.
A path made of straight segments and circular arcs (a slot, a D shape,
a rounded rectangle, a pie) was written as one SPLINE, or as a flattened
polyline in R12. It is now one polyline whose vertices carry a bulge
(group 42) for each arc: an LWPOLYLINE in R14 and later, a POLYLINE with
VERTEX entities in R12 and R13, closed when the path is closed. Each run
of cubics on one circle becomes one arc. A path with any other curve
stays a SPLINE, and whole circles, arcs and ellipses keep their CIRCLE,
ARC and ELLIPSE entities.
- The circle test's tolerance is 5e-4 of the smaller of the radius and
the curve's extent, so a shallow curve that is not circular is no
longer written as an ARC.
- The drawing extents take each ARC's and each bulge's furthest points.
Part of #1299
A projection now counts as invertible when its determinant, or its
adjugate's determinant, is more than 1e-15 times the largest of the six
products that determinant sums. The adjugate of the adjugate is the map
times a number, so the inverse of a projection that inverts also inverts,
is stored and reads back. The adjugate's cofactors are formed with exact
products, so the inverse of that inverse gives back the original map up
to scale, within 1e-6 of each row's largest entry, and a map whose third
row is the sum of its first two is still refused.
Homography::conjugated and Node::transform_projection judged the affine
map by an absolute determinant of 1e-15, so a scale by 1e-8 left type and
symbol instances in perspective with their old projection. Both now use
Homography::affine_is_invertible, which compares the determinant with
the two products it sums at any scale of the map. An affine map whose
determinant or inverse is not finite, such as a scale by 1e200 or
1e-200, is inverted through Homography::inverse. When the direct product
underflows to a map that is not invertible, as for a projection stored
at a subnormal scale, conjugated forms it again with its powers of two
kept apart.
- crates/geom/src/projective.rs: the_inverse_of_an_invertible_map_is_invertible,
conjugating_does_not_depend_on_the_scale_of_the_affine,
conjugating_a_map_at_a_tiny_scale_gives_an_invertible_map
- crates/doc/src/node/tests.rs: a_projection_follows_the_transform_or_is_removed
covers an invertible scale by 1e-8 and a singular map at that size
With Snap to Point alone, an anchor behind the start could pull the
projected end behind it, and the measurement read 180 degrees from the
pointer's step. Such an end is now turned back onto the pointer's step,
keeping its length, as an end rounded nearer another step is.
With a Constrain Angle other than 0, the grid point a Shift-drag's end
rounds to can lie nearer another 45-degree step, and the measurement then
reported that step. A Shift-drag from (0, 0) to (5, -3) with a 30-degree
Constrain Angle and a 9 pt grid measured -15 degrees instead of 30. The
end is now turned back onto the step nearest the pointer's direction,
keeping its length.
With SCALED_COMPONENT_OFFSET, a component's offset now scales each axis
by the length of that axis's basis vector, as the outline loader does,
instead of going through the whole matrix. A rotated or skewed
component's caret no longer lands away from its drawn point.
UNSCALED_COMPONENT_OFFSET now turns the scaling off when both flags are
set.
A composite glyph whose components expand into glyphs with no points
could make the contour-point caret lookup read billions of glyphs. The
whole lookup now shares a budget of 65,536 glyph reads and gives no
caret when it runs out, so the caret falls back to dividing the advance.
Dylan M. Taylor