A spot swatch defined in RGB keeps its spot flag and its own plate when
the document changes to CMYK, and its definition converts like any other
swatch: a fill that uses it and a 40% tint stroke take the converted
color. The Lab spot test's comment now says it covers a Lab definition.
Follows #5442.
- text.setGlyphAlternate keeps the default glyph as a choice when a
feature of the character's style (salt, a stylistic set) draws another
glyph for it, so the default glyph is drawn. A character that is not
laid out (overflowing text) is shaped alone in its style to decide.
gid: null reports the glyph the style draws.
- The Glyphs panel's alternates grid shows the default glyph first when
the font does not list it, so a chosen alternate can be put back.
- A test for a chosen character that starts a longer grapheme (f with a
combining acute), which is not split from its mark.
- The alternates tests in the engine hold the shared font lock while
they add fonts to the global font database.
The png reader's stream buffer grows by doubling its reservation, and
while it grows the old reservation and the new one are both allocated.
The room estimate counted the buffer twice, for the doubled
reservation, but not the moment both are held, so a wide PNG could be
approved for a row-at-a-time decode with less room than reading it
takes. The estimate now counts the stream buffer three times.
The bar decided to show the inline fields against a fixed 440-point
width, smaller than the room the fields take, so just above that width
the H field ran past the bar's right margin and was clipped. The bar
now adds up the room from the values that draw the fields: the label
widths in the current language, the four 80-point fields, the W/H link
and the item spacing ahead of each. With less room it shows the
Transform link alone, as before.
The comment in add_item said a new fill or stroke is a copy of the top
one. The code takes only the top item's paint, and for a stroke its
weight. The comment now says so, as the params text does.
VectorcraftApp::new starts the installed fonts' scan in the background,
and Type > Font lists only the loaded fonts until it ends (#5483). When
the scan ended between two reads of the menus, the second read had the
installed families too, and every_in_window_item_is_in_the_mac_menu_bar_once
and documents_and_selections_change_state_not_structure failed. The
tests' app() helper now waits for the scan after making the app.
Space pressed after a tool's press has begun (Pencil, a brush, a shape, a
selection drag) switched the cursor to the hand but panned nothing: the pan
starts only with Space down at the press. It is ignored now, so the cursor keeps
the tool's own.
Test: space_during_a_pencil_drag_keeps_the_pencil_cursor (fails without the fix:
Grab instead of the pencil's crosshair).
The last column was egui's remainder column, which has no drag handle, so
it could only be resized from the edge before it. It is now an ordinary
column with its own handle.
A table keeps its column widths, so switching to a longer name left the
Name column at its old width and clipped the text. The table now goes
back to the opening fit whenever that fit changes: a longer widest cell
or a resized window. Dragged widths are dropped at that point.
fit_widths could overflow the room when one column hit the minimum,
because the other columns did not take up its share. Columns now give
way in proportion to their width above the minimum.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
None now clears only the rows the search shows, as Select All adds only
those, so artboards hidden by the search stay chosen. The count reads
"Chosen: {n} of {total}". The dialog's new strings have rows in all 26
catalogs, written from their meaning with each catalog's own terms.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A double-click makes the row's artboard active and fits it in the
window (view.goToArtboard, as the Artboards panel does), keeping the
dialog open and the artboards chosen before it. Parity docs record the
Selection Tools add-on.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Object › Plug-ins › Selection Tools › Select by Artboards… lists each
artboard's number, name and size, filters by name, chooses rows with
click, Shift-click and Cmd/Ctrl-click, and runs addon.select.byArtboards
on OK.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
addon.select.byArtboards {artboards, relation} in a new Selection Tools
add-on. Overlapping is All on Active Artboard's test, now one shared
helper (select::on_artboard); Fully inside is within one artboard, edges
included; Fully outside is on none. Objects are those Select All takes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A nonzero tile pointer below the end of the tile pointer table made the reader decode header or table bytes as pixels. The table end is now computed with checked arithmetic, and such a pointer is refused as damaged image data.
PathData::nearest, which the Direct Selection cursor runs to find the
segment under the pointer, projected the pointer onto every segment of
the path.
It now projects the pointer first onto a segment at the anchor nearest
to it, then skips each segment whose control-point box lies farther
away than that distance or the nearest point found so far. Each box is
measured once and the search allocates no memory. The result is the
same, including which of equal distances wins. A segment is never
skipped when the pointer or one of its control points is past 1e100 or
not finite.
Over a segment of an open path of 200,000 anchors, the cursor takes
51 ms instead of 59 ms in a release build (anchor_bench). The progress
line in docs/target-app-parity.md gives the timing.
Tests compare nearest with every segment projected over 400 random
paths, each probed at 30 points on a coarse grid (ties included), and
on open, closed, compound, one-anchor, empty, huge and non-finite
paths.
OK in Tate-chu-yoko Settings read an Up/Down or Left/Right that is not a
length as 0 and applied it. It now returns "Up/Down must be a number" or
"Left/Right must be a number" and keeps the dialog open, and a blank
field leaves its value alone.
The editing copy of the art that a PDF-compatible .ai carries now holds:
- Transparency: `mode opacity isolate knockout shape Xy` (the blending
mode's number, Knockout Group 0 off, 1 on, 2 neutral), written when it
changes: in a path's paint after its colors, before a guide, and after
a group's end followed by `0 0 Xd` and `6 () XW`. A group without
transparency of its own ends `9 () XW`, and a group's name comes
before its state block. A layer's transparency follows its art: `Xy`,
`0 0 Xd`, `7 () XW`, `LB`.
- Clipping groups as `q`, the art, the clipping path or compound path last
with `h` (or `H`) and `W` before its painting operator, `Q`, as section
5.6.2 of the version 7 specification shows them
(http://mercator.elte.hu/~saman/hu/okt/AI7FileFormat.pdf). A clipping
layer whose clipping object is a path or compound path sets the last
`Lb` flag and writes its clipping path last.
- Opacity masks as an `AI9_Mask` entry in the object's dictionary: the
mask's art between `X=` and `X+`, and Clipping, Inverted, Disabled and
Linked.
Before, clipping groups were written as their art cut to the clipping
path, and transparency and opacity masks were left out. Still left out,
with a warning: the opacity and blending mode of single fills and
strokes, opacity masks on layers (disabled ones too), and opacity masks
nested more than 8 deep. A clipping group or layer whose clipping object
isn't a path or compound path is written as a group of the art cut to
that object, in a layer that doesn't clip, and so are the clipping
groups inside that art. A clipping path's paint that a plain fill and
line can't draw is written as paths inside the clipping, fills under the
art and strokes over it, each side in a group of its own when it has
several, with the clipping path's transparency, lock and hidden state;
the clipping path's opacity mask stays on the clipping path, with a
warning. A clipping group without members is an empty group, and an
empty clipping layer is an empty layer.
Each of these is written in the form VectorCraft's .ai reader reads, and
the tests read the written data back through that reader.
Reading .ai editing data: an `Xy` after a layer's last group or compound
path, followed by the layer's `7 () XW`, is the layer's (a following
`6 () XW` keeps it the group's); groups, compound paths and layers keep
Opacity & Mask Define Knockout Shape.
The `.ai` option `editingData` and docs/file-format-parity.md describe
what the copy now holds.
A `color` parameter shows a color button that opens the color picker in plug-in
dialogs and the Appearance panel's effect editor; its default and values may be
a color object or a hex string, and the plug-in gets a color object. A filter's
returned objects may set `guide` and `locked`; objects it locked or made guides
are left out of the selection after the run.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
a_file_placed_while_idle_follows_its_changes asserts that an idle
document without links asks for no frame. Its app started the real render
worker, and once a frame took over 8 ms the canvas sent the next render to
it. The worker asks for a repaint when it finishes, at a time the test
does not control, so under heavy CPU load the asserted frame could report
a repaint delay of 0 instead of none.
The test now sets canvas.worker_started, as the cursor idle test does, so
every frame renders on the test thread. It also dates the rewritten file
2 s after the original with File::set_times, as the opening tests do,
instead of sleeping 30 ms before the write. Shipped code is unchanged.
Select > Object > All on Same Layers took the layer of every selected
object, including one that select.set had kept while it is hidden or
locked, on a template layer, on a locked artboard, or outside the
isolated group. That object's layer then decided which art was
selected. The command now takes the layers only of the selected
objects that the Select commands could select. When the selection
holds no such object, it clears the selection.
At a caret the panel sends text.setRangeStyle with no range, which
styles all of the text, but the check that skips a choice that changes
nothing read only the insertion style. When the characters at the caret
already had the chosen feature and others did not, the choice did
nothing. The check now covers every character of the text at a caret,
so the choice applies, and a choice that changes no character still
adds no undo step.
With System Layout on or Fractional Widths off, each advance is rounded
to whole points, but a right-to-left character with manual kerning
still moved by the unrounded kerning value. The difference between the
two changed the space after the character before it in reading order.
The character now moves by the change the kerning makes to its rounded
advance, so only the space before the next character changes.
A plural status message such as "Saved {path} with {n} note: {first}"
matched a path that holds " with " by taking the first split, so for
"/out/art with notes.pdf" the count became "notes.pdf with 1". The
count did not parse, the translation took the plural form and split
the path.
The {n} of a @msgplural template now matches only a number, and the
matcher tries the next split when it does not. {n} in a @msg template
still matches any text, since those name brushes, symbols and presets.
Files saved mid-edit by older versions carry the opacity-mask editing
layer at the top level. An id there that names a sublayer is ignored on
load, so that sublayer and its art are kept.
Leaving opacity-mask or symbol editing now removes the editing layer
wherever it is, so a save or export after Layers moved it into another
layer no longer writes it. An editing id that names anything other than
a layer is left alone.
symbol_edit is no longer read from files: a value in file data is
dropped on load, so the layer it names is kept and saving does not
write the value again.
An object in 9-slice art that crosses a guide and draws symbol art is
placed by the map of the cell its center is in, so it can draw outside
the instance's transformed art box. Bounds measured without placing the
art (the renderer's culling, and placements past the object limit) used
that box alone, so the displaced art could be culled and not drawn.
The fallback now takes in the art box placed by each of the nine cells'
maps (NineSliceMap::placement_bounds), grown by the art's reach as
before.
File > Export > Export As PNG... opened PNG Options with no artboard
chosen, and a single-image export without one writes the first
artboard, whichever was in use. With no artboard choice given, it now
takes the active artboard, or each artboard the Artboard tool has
selected (one file each). A choice the caller gives is kept.
The PDF writer writes a spot gradient as a Separation or DeviceN shading
only when it is linear or radial; freeform gradients and dithered fills
are written as images in process colors.
- `paint.editGradient`'s method help and the Method paragraph in
docs/mcp.md limit the Perceptual exception to linear and radial
gradients.
- The Linked gradient stops paragraph in docs/mcp.md no longer says the
writer has no DeviceN: a gradient mixing spot inks with other spot,
CMYK or gray inks exports as a DeviceN shading, and only a mix with RGB
or Lab colors is written in process colors, with a warning.
Baseline shift on an upright glyph in vertical type moved it up the column
instead of across it, at any Character Rotation, because the shift was
applied before the glyph was turned upright. The shift is now taken off
before the turn and put back after it, so an upright glyph moves across the
column by the shift as a letter lying on its side does, and still turns
about its shifted pen position.
An upright glyph in vertical type has its frame's up axis along its column, parallel to the
line, so Touch Type split no drag or arrow-key nudge into kerning and baseline shift and sent
no movement. Such a glyph now takes the line's cross axis, right of its column, as the way
baseline shift moves it.
Mixed in display RGB, red and blue darken past blue's lightness and come
back. The weight search for a Perceptual DeviceN shading then found a
red-side weight for stops near the blue stop, and the inks jumped there.
When the display RGB mix's lightness turns back between two stops, the
inks are mixed at each stop's mix position instead.
type_font_menu_lists_every_available_family compared two reads of Type › Font while a test running alongside could add a font in between, so the menu was rebuilt with one more family. It now judges a run in which the font generation held still.
idle_expiry_closes_without_writing_a_line took a connection reset as a failure; on Windows the server's close of an idle connection can reach the client as one.
Choosing units in Preset Details restyled every preset card in the Recent
and Saved tabs, so switching between inches and millimetres rewrote all the
user's templates at once. The pane's options apply to the selected preset
(helpx, "Create and save custom document presets"), so only the chosen card
follows the chosen units now; the others keep the units their document or
preset was made in, and clicking one brings its units back. The built-in
category tabs still show the chosen units (#2078).
Generated with [Devin](https://devin.ai)
Co-Authored-By: Devin <158243242+devin-ai-integration[bot]@users.noreply.github.com>
A dialog slider whose field shows another unit, such as Transform Each's
Move in millimeters, converted the number back to points and held it to
the rail's range, so a set value past the rail that the field holds came
back as the rail's end.
Dialog sliders and the Blob Brush tip preview offered screen readers only
the increment and decrement actions. They now also offer the set-value
action: the last request in a frame sets the number within the slider's
range, rounded to the places its field shows, and a value that is not a
finite number leaves it as it is.
Kerning read one pair of parentheses around its text only while it
showed an automatic value as (12), so typing (10+5) over a manual value
committed nothing. spin_kerning now reads that pair in both states;
the field still shows parentheses only for an automatic value, and
(10+5)*2 is still refused.
The opening tests waited 400 or 500 ms of wall-clock time for files read off
the UI thread, and up to 30 s in loops that polled until the queue emptied.
Under load a read could take longer, and
a_file_that_opens_and_asks_holds_back_the_next_one_ready failed.
wait_read now blocks on each pending file's own result channel and keeps the
result for poll, and open_ready waits and then polls once. The background save
in long_operation_busy_while_a_file_opens_or_a_background_save_runs waits with
background::wait_all, and its job waits on the release channel without a
timeout. Shipped code is unchanged.
On macOS the menu bar is native and is read again only when its state
hash changes. Type > Font now lists the loaded fonts until the installed
ones are scanned, so the hash takes the font generation and whether the
scan has ended. The tests that wait for process-wide generations to
hold still wait for the fonts too.
The menu bar builds Type > Font in every frame, the first included, and
its family list waited for the scan of every installed font. When that
scan took longer than the 20 s first-frame watchdog (thousands of fonts
on a slow disk, or each file checked by antivirus), the app took the
graphics adapter for hung and started again without it, until none was
left and no window ever showed.
The menu now lists the fonts already loaded until the scan ends, then
all of them (FontDb::menu_family_list_now, installed_fonts_ready).
text.tabs.set and text.tabs.clear return without an edit when every
targeted paragraph already holds the stops. A Ctrl-drag that the 0 pt
bound keeps from moving, or a drag released where it started, no longer
adds an undo step that changes nothing. When one targeted paragraph
holds other stops, the command still sets them all.
appearance.addFill copies the active fill row only when the call has no
`ids`, no `id` and no `target: "contents"`; the params text now names
`id` too. appearance.addStroke gives the new stroke at least 1 pt, so a
0.5 pt top stroke gives a 1 pt stroke; the params text now says so.
Tests pin both: `id` alone leaves the active row alone and puts the new
fill on top, and Add New Stroke on a 0.5 pt stroke adds a 1 pt one.
OK in Shape Builder Tool Options sent highlightColor to tool.setOption,
which keeps only #rrggbb, so #ff000080 was applied as #ff0000 with no
error. OK now gives the same error as the Live Paint tool options for a
hex color with an alpha part (#rrggbbaa or #rgba), the dialog stays open
and the tool's options do not change. The tool.options params text,
docs/mcp.md and the progress doc say so.
A command bound to plain Escape no longer runs when that Escape
cancels a floating Tools panel move or a ruler-origin drag, nor on the
key repeats while Escape stays held. The next separate Escape press
runs it as before. A test binds Select None to Escape and holds Escape
through both cancels.
File > Package stored its status line in the interface language, so after
a language switch the status bar kept the old language, and the control
channel and MCP read a translated message. The status line and its notes
are now English, and only the "Package created" dialog is translated when
it is shown. Each catalog gets message rows for the notes, so the status
bar translates them too. On the desktop, where the dialog names every font
left out, a long font list is cut short in the status line so the line
stays short enough to translate.
A number typed into the Kerning field after Optical keeps the Optical
flag on the type, and the manual value sets the spacing. The Kerning
menu still checked Optical. It now checks neither Auto nor Optical
while a manual value is set.
A freeform gradient whose field has no points of its own takes its
colors from the stops, so spot-linked stops in it are written in
process colors too. The export now warns in that case, as it does for
the other gradients drawn as images.
dotCooCoo