The reader measured a symbol's definition only to find the page art an
instance covered, so every file with a placed symbol instance opened
with that instance as drawn art, or as its page.
- Each `%AI14_BeginSymbol` definition is read by a reader of its own into
a symbol of the document, with its art (in the symbol's space, y down),
the registration point its dictionary gives
(`AI13PatternRegistrationType`, 1 to 9 from the top left) and the
instances of other symbols in its art. A definition whose art isn't
read whole isn't kept: type, placed files, non-native art, pattern
fills, a gradient or an image the reader can't read or place, and
anything else the reader doesn't read. Its instances come in as the
page draws them, within the box of the art that is read. A definition
that holds an instance of a symbol the file doesn't have isn't kept
either, nor is a definition holding an instance of one of those, and
their instances aren't read. A definition after the first layer isn't
read.
- `%AI24_BeginSymbolList` orders the symbols as the Symbols panel lists
them. A name read twice is numbered ("Dot 2"), and instances name the
first symbol with the file's name.
- `/SymbolInstance` with `/SymbolRef` and `/RTransformMatrix` comes in as
a live instance, with the hide and lock set before it and the opacity,
blending mode, isolation and knockout of the `Xy` after it, as a
group's. An instance with appearance changes of its own
(`AI19SymbolAppearanceMap`), of a symbol that isn't read, or placed
only by `/Matrix` or `/Transform`, comes in as the page draws it.
- Symbol art takes the gradients and art styles read before it, and an
object in it linked to a listed graphic style keeps the link.
- In a symbol's art, the matrices of instances, gradients and images are
read in the canvas's space, y up, about the canvas point of the ruler
origin. Without `%AI3_TemplateBox` an image can't be placed, so the
symbol isn't kept.
- At most 4,096 definitions are read, and a symbol list names at most
16,384 symbols.
Tests: reader tests for each case above, and fuzz cases for damaged and
hostile symbol data.
links.findFiles hashes files up to MAX_HASHED (1 << 30 bytes) and compares larger ones by size only. The params text, the module doc comment and docs/mcp.md said 1 GB; they now say 1 GiB.
The Snap to Glyph section is drawn after every character attribute, so
in a short panel it appeared out of sight and the menu item seemed to do
nothing; its checkboxes were also dimmed with no way to turn Snap to
Glyph on from there. Choosing Show Snap to Glyph Options now scrolls the
panel to the section, which starts with a Snap to Glyph checkbox
(View > Snap to Glyph) that undims the guide options.
An art style with a Distort & Transform effect opened every object but
type as its drawn look. Objects other than type now open as themselves
with these effects live:
- Any object takes a Tweak that moves nothing and Pucker & Bloat at 0,
beside the effects it already took.
- A path, compound path or group takes Transform without copies, or a
Free Distort whose corners make a parallelogram, when it is the only
effect. Neither the style nor anything in the object may paint with a
gradient or pattern. Everything in the object must be a path, compound
path or group without a clip, an opacity mask or effects of its own.
When Transform scales, rotates or reflects, nothing in the object may
be stroked.
- An unstroked path or compound path whose segments are all straight
takes Twist when it is the only effect.
Other objects keep the drawn look, as do Zig Zag, Pucker & Bloat of
another amount, a Free Distort with other corners and Transform copies.
Docs: docs/file-format-parity.md, docs/target-app-parity.md.
A .ai or EPS graphic style library holds graphic styles and their list
in its editing data but no layers, so it came in as its PDF part or
page with the default styles, and Other Library listed those. A file
read as its PDF part or page, because it has no layers or its layers
can't be used, now gets the styles of its list, in list order, as a
file read from its layers does: File > Open shows them in the Graphic
Styles panel and Other Library lists them in a library panel.
Style stroke weights and effects are scaled by the Large Canvas factor
of an EPS, and for a .ai whose editing data is in the units of its
pages by the pages' UserUnit or the declared Large Canvas scale.
Part of #3349
links.findFiles' params text and docs/mcp.md now say that the saved path's
parent-folder steps (.., or the empty components of a classic Mac :: run)
are resolved and that . components in a slash path are skipped before
folder names are compared.
A library colour kept only its values, so a spot colour came back as a
process colour once its document was closed or in a new one. The library
now keeps a spot colour's ink name and tint (in the .vclibrary file too);
library.use links the paint to the document's spot swatch of that name,
adding it when the document has none of that colour, in one undo step.
A spot swatch dropped on the Libraries panel brings its name and tint.
Selecting the object's Opacity row, or a fill's or stroke's, and clicking
Delete Selected Item (or pressing Delete/Backspace, or Remove Item in the
panel menu) now sets that opacity back to Default (100%, Normal) in one
undo step. The button used to be dimmed for these rows.
Drawing a new Pencil or Paintbrush stroke kept the earlier selection: the engine's
`insert_look` selects the new path only when `keepSelected` is on, and with it off left the
selection as it was. Illustrator starts such a stroke by dropping the selection, and the new
stroke is not selected with Keep selected off, so the command now clears the selection after
inserting a new path.
What stays as before: with Keep selected on a stroke selects only the path it draws (the
earlier selection is replaced); a stroke that continues or redraws a selected path with Keep
selected off deselects that path and keeps the rest of the selection. The Blob Brush keeps its
own Keep selected and Merge only with selection options.
`path.freehand`'s documentation, the engine test
`pencil_with_keep_selected_off_leaves_nothing_selected` and the Tool Options test
`the_new_path_is_selected_only_with_keep_selected_on` cover the three cases. Docs: roadmap,
target-app-parity and ui-parity carry the change.
The private editing data list in docs/file-format-parity.md now says
that several clipping paths in a clipping group, a layer or an opacity
mask's art clip to their intersection, that a compound path of clipping
paths stays one clip, and that clipping paths that would nest the art
past the document's 32 levels stop the editing data from being read, as
#5789 made the reader do.
A tab definition in type of the legacy format (`numDots numTabs Xb`, a
`leader decimal tabType tabPosition Xe` for each stop, then `XB`) was
skipped, so every paragraph opened with only the default stops every
36 pt. The stops it describes now become the paragraph's tab stops
(left, center, right or decimal, at their positions), and they last
into the next paragraphs and text objects like the other paragraph
attributes. A definition with no stops, or whose descriptions were all
skipped, leaves the default ones. A description with an unknown type or
a position outside 0 to 100000 pt is skipped, and so is one past the
first 1024 of a definition. A text object's `To` ends a definition that
an earlier object left open.
Docs: docs/file-format-parity.md.
VectorCraft now reads `CropAreaActive`, an `/Int` in the dictionary of
the editing data that holds the `ArtboardArray`, as the index of the
active artboard in that array. The reader ignored it before, and every
file opened on its first artboard.
The opened document starts with that artboard active, so the view the
document opens at and the Artboards panel use it. The index counts
every entry of the array, so an artboard that is left out (one with no
area) does not shift it. When the entry is missing, is not an `/Int`,
or names an artboard that does not open, the first artboard is active,
as before. A file that comes in as its PDF part, with its pages placed
where its artboards are, opens on the page of the active artboard, also
when the reading stops before the artboards. The same reader serves the
editing data of EPS and PDF files.
The active artboard is kept on the opened document only; native files
do not save it.
A linked image read from a version 7 `.ai` file can keep its path in
the classic Mac OS form, with colons between folders
(`Macintosh HD:Images:photo.tif`). The link's name was the whole path,
so the Links panel showed it as one long name, and Relink to Folder,
the search of the document's folder and Find Linked Files looked for a
file with that whole string as its name.
A path with a colon and no `/` or `\` is now read as a classic Mac OS
path. Its name is the part after the last colon, and `links.info` gives
the rest as `location`. Relink to Folder, the document-folder search and
`links.findFiles` look for that name, and Find Linked Files compares the
path's folders with the folders of the files it finds. The link keeps
the path as stored. Paths with a `/` or `\` keep those as separators,
so a file name may still hold a colon (`/Users/a/x:y.png`).
Docs: docs/mcp.md (Links), docs/file-format-parity.md (version 7
linked images).
In the legacy format, `Tr` sets the rendering mode of the type that
follows. Section 5.7 of the version 7 specification says that modes 4 to
7 make the text object a mask: 4, 5 and 6 also fill, stroke, or fill and
stroke it, and 7 paints nothing. Sections 15.3.2 and 15.4.5.1 add that
these modes are used in pattern definitions, and the reader does not
read type in a pattern. The reader painted 4 to 6 like 0 to 2 and never
clipped, so the art a text mask clips showed whole.
A text object with characters in modes 4 to 7 is now a clipping path of
its clipping group (`q` ... `Q`, or the layer), as a path painted with
`W` is, and the whole object is the mask. Beside other clipping paths it
nests as they do, and the mode lasts into later text objects. Area type
with linked areas (threaded frames, also when the reader's limits keep
one frame), and type in wraparound text or in a compound path, a group
inside them included, doesn't clip, with a warning.
A `Tr` operand that is not a whole number from 0 to 9 now leaves the
mode as it was; before, 4.5 read as 4 and -4 hid the type.
The new warning and the reader's warning about linked type areas left
out get rows in every catalog.
The Adobe Illustrator File Format Specification 7.0, section 4 (p. 51),
says the name shown for a global object is the part of its name in the
file before the newline
(https://13thmonkey.org/documentation/fonts/AI7FileFormat.pdf). The
legacy reader kept the whole name, so swatches and patterns came in
named "Sky\n1". The reader now applies this rule to the files of every
version it reads.
- Gradient swatches, gradient fills, pattern definitions, pattern fills,
palette cells and art-style pattern fills use the part before the
newline. Lookups inside the reader still use the whole name.
- When that name is taken, the first free "Sky 2", "Sky 3" is used.
Taken names are None and Registration, the palette's own swatch and
group names, the default swatches when no palette replaces them,
named colors (color operators, gradient stops, version 7 pattern
strings, the header's and an EPS program's custom colors), the names
of gradients and patterns that have no newline, and the names given
to earlier gradients and patterns. Only content the reader reads
counts: not the alternates of versioned content, the prolog, skipped
sections or what follows the trailer.
- A name with nothing before the newline comes in as "Gradient" or
"Pattern". Names without a newline do not change.
- docs/file-format-parity.md lists the rule.
In the legacy format, `TZ` makes a re-encoded font from an existing one
and can give it encoding pairs of its own, which change only that font's
encoding. Its `useDefault` operand says whether the file's `TE` encoding
also applies to the font (Adobe Illustrator File Format Specification
7.0, section 3.3.1,
https://13thmonkey.org/documentation/fonts/AI7FileFormat.pdf). The
reader skipped the body of `%AI3_BeginEncoding` sections and ignored
`TZ`, so every string was decoded with `TE`'s encoding.
Strings in a re-encoded font are now decoded with its own pairs, then
with `TE`'s encoding when `useDefault` is 1, and as Windows-1252 for the
codes left. Strings in other fonts keep `TE`'s encoding. The reader
reads `TZ` in the body of an `%AI3_BeginEncoding` section and wherever
else it appears in the script, with or without the direction operand
and the Multiple Master weight vector. The font names are the last two
names, and only numbers and the weight vector may follow them; the
reader does not use a `TZ` of another shape. The first `TZ` for a font
is used.
`TZ`'s font names also map the re-encoded font to the font it was made
from, as the `%AI3_BeginEncoding` comment does. Type in a re-encoded
font that no such comment names now opens in the font `TZ` names; when
both name the font, the first one read is used.
The version 7 and version 3 file format specifications list three text
operators the editing-data reader did not dispatch, so a file whose type
used any of them on a visible layer did not open from its editing data:
- `(text) justified TS` (special characters): the reader adds its
characters to the story, as it does for `Tx` and `Tj`.
- `Te` (end render) is read and ignored. The reader accepts it with any
number of operands.
- `TM` (pop text matrix) is read and ignored.
Tests cover each operator in a text object, `TS` without a string and
outside a text object, and `Te` inside a tab definition. The import fuzz
tests add the operators to the legacy type tokens.
Layer Options › Print off means the layer's art does not print. The Layers panel now paints
that layer's name italic, as Illustrator shows non-printing layers, and the ghost of a row
being dragged keeps the italic. A printing layer's name stays upright, and ticking Print
again restores it.
Row names are painted rather than widgets, so the italics come from a layout job's text
format (egui slants the glyphs itself; no italic face is needed).
Tests: panels::layers::tests::a_layer_that_does_not_print_has_its_name_italic covers Print
off, Print on again, and a plain printing layer; the layers suite (64 tests) passes.
Docs: roadmap, target-app-parity and ui-parity carry the change.
The version 7 file format specification gives `XI` and `XF` an
ImageMask operand: 0 is an opaque image, 1 is an image that is
transparent and can be colorized (sections 8.1, 8.2 and the 1-bit
examples in 8.4,
https://13thmonkey.org/documentation/fonts/AI7FileFormat.pdf). The
reader ignored the operand, so a 1-bit image mask opened as an opaque
black-and-white image.
A 1-bit gray image with ImageMask 1 now opens with the fill color set
before it as the color that colorizes it. A spot or global color keeps
its swatch and tint. When the fill is a pattern, a gradient or none,
the image is colorized black. VectorCraft's own rule is that the pixels
that open black with ImageMask 0 take the color and the others are
transparent. A linked image (`XF`) keeps the same color for when its
file is relinked. 8-bit gray, RGB and CMYK images, and images with
ImageMask 0, open as before.
In `.ai` and EPS editing-data import, a clipping group, layer or opacity
mask's art that holds more than one clipping path (`W`) now clips to the
intersection of the paths, as each `W` intersects the current clip (AI7
spec section 5.6.2,
https://13thmonkey.org/documentation/fonts/AI7FileFormat.pdf). Before,
the paths were joined into one compound path, which clipped to their
union, and kept a stroke only when every path had the same one.
Each clipping path after the first clips a clipping group nested inside
the one before it, and keeps its own stroke, opacity and blend mode. The
innermost clipping group holds the art in the order written; as before,
every object in the group is clipped by all of its clipping paths. A
clipping path's painted fill stays at its path's level. A compound path
of clipping paths (`*u` ... `*U`) is still one clipping path. Clipping
paths that would nest the art past the document's 32 levels stop the
editing data from being read.
Floating panels are OS windows of their own, and craft-ui keeps a palette above the
app's other windows while it is active. A modal dialog or an open menu is drawn in
the main window, so a floating panel covered it: the Colour Picker's OK button and
fields, Recolor Artwork, and the menu bar's drop-downs (#5238, defect 1).
While a modal dialog or a menu of the in-window menu bar is open the docking renderer
hides each palette window, and when neither is open each palette shows again at its
palette level: topmost while the app is active, behind other applications' windows
while it is not, as craft-ui leaves a palette it creates. Hiding rather than lowering
covers both: a lowered window can be clicked back to the front, and craft-ui varies
the level through the viewport builder, which egui applies when the window opens and
not to one already on screen, so the commands go explicitly to the windows there are.
The menu bar tells the docking renderer whether one of its top-level menus is open,
the same state its hover switching uses; egui's own "any popup open" misses the
in-window menu bar.
Measured on Windows with the app focused and panels floating: before, a palette was at
the front of the z-order and topmost over the main window with the Colour Picker open;
after, the main window is in front and the palette is hidden until the dialog or menu
closes.
Tests: a_modal_lowers_the_native_palette_windows and
a_menu_of_the_menu_bar_lowers_the_palette_windows check the commands sent, and
a_palette_window_keeps_out_of_the_way_of_the_main_windows_dialog_and_menus the level
and visibility table. The wheel test
`wheel_over_a_floating_character_font_field_changes_the_font` fails on this machine
without this change too (font-order dependent), so it is not part of it.
The editing copy of a PDF-compatible .ai wrote every image as its outline
filled with its average color. Embedded images are now written with their
pixels, and linked images as placed files with a preview:
- Embedded images are rasters in the form of the version 7 specification
(section 8, https://13thmonkey.org/documentation/fonts/AI7FileFormat.pdf):
%AI5_BeginRaster, the color space, the image matrix and the XI operands
of current files, then the samples in binary in a %%BeginData section.
Gray, RGB and CMYK images keep their samples (CMYK images their ink
amounts), and see-through images their alpha channel after the color
samples. The matrix is written to ten decimals.
- Linked images are placed files (section 16): the matrix, the box of the
file's pixels and its path, %%IncludeFile, the folder relative to the
document's (when the relative path ends in the path's file name), and a
preview of at most 256 pixels a side.
- Images that can't be decoded or have more than 33,554,432 pixels (the
most the reader reads) are written as their outlines filled mid gray,
images of 16 bits a channel (CMYK TIFFs included) at 8 bits, and linked
images in opacity masks and pattern tiles as embedded images, each with
a warning.
Each of these is written in the form VectorCraft's .ai reader reads, and
the tests read the written data back through that reader.
The reader now gives an image its name and opacity mask when the
operators that end its raster (XH, Xr and the N after %AI5_EndRaster) come
before its dictionary, reads an empty relative folder as the document's
own folder, and looks for the %%EndData that ends an image's samples
after the alpha channel its XI operands give it, preferring one whose next
line is XH, so samples that hold the marker's bytes are read whole.
Tests: the round trip of every kind of image and its state, a second write
of what is read back giving the same bytes, the raster and placed-file
forms, previews of large linked images, and the engine's editing copy with
every save option; a fuzz case for damaged images and placed files.
Docs: docs/file-format-parity.md.
In the legacy format, area type whose story flows through several linked
areas has one text path (`Tp` ... `TP`) for each area, each with its own
matrix and frame (version 7 specification, sections 15 and 15.5.3). The
reader kept only the first frame, placed it with the text object's last
valid matrix, and put the whole story in that one frame.
Each linked area with a frame now opens as its own area type object,
placed with its own matrix, and the frames are threaded in file order.
The first frame holds the story: the characters after every `TP`, and
the overflow text. When the file opens, the story is laid out again
through the thread (section 15.1 lists the flow from area to area as
final-form information). A linked area without a frame is left out.
Area type with one area opens as before.
The dictionary that follows a text object (its opacity mask, text wrap,
name and other keys) went to its one object. Its opacity mask and text
wrap now go on every frame, and its other keys on the first frame.
Point type is read with its first text path's matrix, and type on a
path with the matrix and start of the first text path that has a path.
Area type with no frame at all opens as point type with its first text
path's matrix. Before, these used the last valid matrix and, for type
on a path, the last start.
One text object reads at most 4,096 text paths. The number of frames
times the story's character count is kept to 4,194,304, so a longer
story keeps fewer frames. Frames past either limit are left out, with a
warning.
A legacy .ai in the version 7 form names a linked image's file with
`(path) modified XG` and draws the image with `XF`, which takes the
operands `XI` takes and has no samples after it (Adobe Illustrator File
Format Specification 7.0, sections 8.2 and 8.3). The reader ignored both
operators, so the image was dropped without a warning.
- `XF` after `XG` becomes a linked image of that file, its pixels placed
as an `XI` image of the same operands is placed. The file keeps no
pixels of it, so a placeholder stands in until the file is relinked in
the Links panel, with a note in the open result. No pixels are read,
so the image is not held to the pixel limit of `XI`'s samples.
- An `XF` without a file name before it, or with operands `XI` couldn't
read (no matrix, too few numbers, no pixels, or samples of other than
1 or 8 bits), is left out with the existing "an image VectorCraft
can't read was left out" warning. An `XG` applies only to the image
after it in the same raster object; `() 1 XG` before an embedded `XI`
keeps that image embedded.
- A PostScript page draws nothing for `XF`, so there the placeholder's
area is left out of the comparison of the layers with the page, and
the file keeps its layers. A PDF part draws the image's pixels, so a
file with one is compared with it there as before, and its layers are
not used without the PDF part.
- Linked images of different files get image keys of their own even
when they show the same pixels (the placeholder, or two identical
placed-file previews), so updating or exporting one file's image
reads that file only.
- `vectorcraft_doc::links::missing_placeholder` draws the placeholder: a
light tile, crossed out, as SVG import shows for a missing file.
Tests: reader tests for the placement, the image keys and the cases left
out, an end-to-end test of a legacy file with a linked image, a test of
a file with a PDF part, and a fuzz case for damaged files with `XG` and
`XF`. The new note has a row in each catalog that translates the
placed-file note.
`.ai` and EPS editing-data import now reads object tags
(`/identifier (string) XT`) and applies each one to the object before it,
whatever kind of object it is. The `AdobeURL` tag sets the object's URL.
Every other tag is added to the object's data in order, up to 64 per
object. A tag with no object right before it, with an empty identifier,
or with an identifier or string longer than 64 KiB is ignored, and so
are tags in a pattern's or brush's art. A clipping path keeps its own
tags; the copy that paints its fill gets none.
Before, a tag on art that shows was an operator the reader did not know,
so it stopped the editing data from being read, and brush art holding a
tag was not read, so the brushes using it were left out.
An image's tags follow the `XH` that ends its data, and the state written
after a group or a gradient mesh is still theirs when their tags come
first. When a drawn look stands for an object whose style is not found,
the look keeps the object's note, URL and data, and a live blend keeps
those of its drawn steps.
The editing copy for other apps now writes linear and radial gradients and
grid patterns as themselves instead of as average colors and cut tiles.
- Gradients the art uses are defined in the setup (`n Bn`, then
`%AI5_BeginGradient` … `Bd`, the stops as `Bs` with their opacity and
midpoints, `BD`), and gradient swatches nothing uses in a non-printing
block. Stops keep gray, CMYK, RGB and spot colors at a tint. A
gradient that isn't a swatch gets a name that no swatch or pattern of
the document has.
- Each fill or stroke with a gradient is an instance around its painting
operator (`Bb`, `Bh`, `Bg`, `Xm`, `Bm`, `Bc`, `BB`), on a compound
path's last subpath and on clipping paths too. `Bg` places the gradient
relative to the path: a linear one by its angle and its start and length
as fractions of the path's extent along it, a radial one by the matrix
that takes the unit circle onto its extent ellipse, its center as
fractions of the path's bounds in that circle's space and its radius as
a multiple of the one the center's distances to the right side and to
the bottom give. In a pattern's tile the placement is mirrored top to
bottom.
- Patterns whose tiles make a grid and hold their art are defined with
`%AI3_BeginPattern` … `E`, the tile's box first, and fills and strokes
paint with `p` and `P`; gradient and pattern swatches are in the palette.
- Freeform gradients, gradients along or across a stroke and gradients
without stops, with more than 256 stops or without extent are written
as their average color, and other patterns as their tiles cut to the
shape, each with a warning. Gradients that dither or mix perceptually
are written as classic ones, stops linked to global process colors as
their colors, and pattern swatches without the placement that moves,
turns or scales their pattern, with warnings.
- Reading: an unpainted box that a pattern's definition marks as its
tile's box (`AIPattern_Editor_Backing_Tile_Rect`) is no longer read as
art, and a linear gradient whose stops all lie at one place keeps each
stop on its side.
The definitions, instances and patterns follow sections 3.4, 3.5 and 14
of the version 7 specification
(http://mercator.elte.hu/~saman/hu/okt/AI7FileFormat.pdf). The stop
opacity, `Bg`'s placement and the marked tile box follow the newer form
that current .ai files carry, which that specification predates.
Each of these is written in the form VectorCraft's .ai reader reads, and
the tests read the written data back through that reader.
Docs: docs/file-format-parity.md.
While Select All holds a threaded story, a paragraph whose text starts in one of the
story's locked or hidden frames is no longer converted, and the empty parts of a converted
paragraph in such a frame are no longer restyled. Before, a locked frame whose first
paragraph took in the previous frame's empty last part was converted, and so was a
paragraph that ran on from a locked first frame into an editable one.
After Select All in a frame of threaded text, Remove Line Breaks and
Remove Paragraph Breaks changed only the edited frame, and Convert to
Text over MCP converted only the selected frame. Both now act on the
text of every frame of the story as one undo step.
- addon.cleanup.removeBreaks reads the frames of the story as one text,
so a break at the end of a frame before a word in the next one becomes
a space. The same applies when every frame of a story is selected as
objects.
- text.convertListToText without ids, id or a range converts every
paragraph of the story. Locked and hidden frames of the selected story
are not converted, even when ids names them. When the call converts
the whole story, the story stays selected; before, the call reset the
Type tool's selection to the edited frame.
- A selection inside one frame, and unthreaded type, behave as before.
Docs: docs/mcp.md, docs/target-app-parity.md.
push_num formatted every number with write!("{:.*}"), which runs the
exact decimal float formatter, then scanned and trimmed the text. That
formatter was about 95% of the time to export a path of 200,000
anchors.
At 9 decimals or fewer, push_num now scales the value by 10^decimals
and writes the digits of the rounded integer when that rounding is
certain: the scaled value is below 2^53 and further from a half than
the scaling's rounding error. Ties and larger values still go through
the formatter, so the output is the same byte for byte.
Exporting one path of 200,000 anchors takes a median of 43.4 ms
instead of 167.0 ms, and 20,000 rectangles 81.4 ms instead of 141.4 ms
(Windows 11, release build).
A `backquote` given as a string or a number, on the request or on an
event, was read as absent, so `"true"` moved the object's geometry
instead of its pattern. `pointer_gesture` and `ui.pointer`, headless
and desktop, now answer with an error before any event runs.
When anchors of a kept path (a path or compound path of 1,024 anchors or
more) are added or deleted, or a subpath is closed or opened, the next
frame writes again only the path elements from the first anchor that
changed to the last, and the closing segment and ClosePath when an end
anchor changed or the subpath was closed or opened. The elements after
the change move with it. Before, such an edit made the whole path again
and measured it whole.
- The runs of segments now carry their own ends. The runs that held the
segments written become one run, split into runs of 128 when it grows
past 256, and only those runs are measured again, with the miter tips
of the run of the segment with length before each span. When a
subpath is closed or opened and the stroke reaches farther from one
than from the other, all of that subpath's tips are measured again.
- On a subpath that is open before and after the edit, the handle before
the first anchor and the one after the last are not compared, so
Delete Anchor Point, which clears them, writes again only the segments
around the anchor deleted.
- A subpath that has fewer than two anchors before or after the edit is
written again whole. A compound path member that gains or loses
subpaths is made again. When members are added or removed, those
members and every member between the first and the last of them are
made again, and the members before and after them stay.
- An edit that adds or deletes anchors in, closes or opens more than 16
subpaths makes the whole path again, as before.
- An edit that leaves every anchor as it was, such as a new stroke,
leaves the kept path as it is.
The pixels and the cull bounds are the same as with a path made again.
Docs: docs/target-app-parity.md.
Selection Tools add-on: addon.select.byLinkStatus selects the image
objects and placed documents whose link is linked, embedded, missing or
modified (one status or several), as links.list reports it. Optional ids
limit the search, add adds to the selection, and zoom runs the existing
Zoom to Selection in the desktop app. Objects that are hidden, locked, on
a template layer or outside the isolated group are left out and returned
with the reason. Only the selection changes.
Select Linked / Embedded / Missing / Modified are in Object > Plug-ins >
Selection Tools and the Links panel menu. Each is off when no image has
that status, and Shift adds to the selection. Select by Link Status...
lists the images with name, status and format, with a name search, a
status filter, checkboxes with All / None and Zoom to Selection. The
status bar says what was selected and how many were left out, with
plural rows in every catalog.
Tests: engine (statuses, ids, add, zoom, skip reasons, bad params),
command sweep, and UI (message, list filtering, menu items, Links panel
menu, headless dialog frame). Docs: mcp, target-app-parity, ui-parity,
roadmap.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Layers and Links panels share one thumbnail thread across documents,
and it ran its jobs in the order they came. Rows of a document left with
a long queue held up the thumbnails of the next document shown.
The thumbnail thread can now drop the jobs it has not started for some
slots. Each frame the Layers and Links panels name the document they
show; when it changes, the queued jobs of every other document are
dropped, and when no document is open, all of them are. Those rows ask
for their thumbnails again when their document shows again, and the
thumbnails already made are kept. The Navigator and the arrange panes do
not use the new call.
With 150 rows of 20,000-anchor paths queued for one document, the 8 rows
of such paths of the next document shown get their thumbnails in 153 ms
instead of 3,265 ms (debug test build, median of three runs).
A path whose stroke has a gradient along or across it kept its slices under
the node's address, so every nudge made the slices again for the whole path,
although its stroke outline was already reused. The renderer now keeps the key
of a stroke's latest slices under the object's id, the stroke's place and the
tolerance level, and when the object has only moved (same stroke and gradient,
same fill rule, anchors moved by one offset) it draws those slices moved by the
offset, translating only the slices that reach the piece being clipped. Scale,
rotate, an anchor edit or a change to the stroke or its gradient makes the
slices again. The pixels are the same.
docs/mcp.md said that with nothing being dragged, remote press_key c
chose the tool bound to C and f ran the shortcut bound to F. Remote
press_key sends the key event without the letter it types, and the app
runs single-key shortcuts only from the typed letter, so neither runs.
The Arc tool, Selection marquee and grid paragraphs now say what
headless press_key does with these letters and point remote callers to
select_tool or invoke_menu.
In remote mode, press_key queues its key for the next UI pass, while
pointer_gesture drives the tool as soon as the app reads the request. A
release sent right after a key could commit the drag before the key
reached the tool, so C pressed while dragging out an arc left it open.
A ui.pointer request now waits, ahead of the requests after it, until
the synthetic input sent before it has been applied.
Review of #5694 asked for two changes.
Add-on, not a core tool, as Enclosing Lasso is:
- The command is addon.contour.set, in an add-on module of its own
(crates/engine/src/cmd/addons/contour.rs) with its tests beside it.
- The tool is listed under Object > Plug-ins > Contour and under its own
"Contour" heading in All Tools. It has no Basic or Advanced toolbar
slot and no default shortcut. The Contour bar is unchanged.
- The add-on drawer test lists Contour with the other add-on tools.
- Docs (mcp.md, the parity documents, ROADMAP) say add-on and use the
new command name; mcp.md gains a Contour add-on section.
Translations: rows for "Contour", "Contour Tool", "Sharp", "Bake" and
"Turn the Contour into plain paths" in all 26 catalogs ("Round" and
"Square" already had them). Drafted from each catalog's own vocabulary
(for Bake, the verb it uses for Expand Appearance; a word other than the
catalog's Stroke or Path word for the tool's name where they collide);
they are not native-speaker reviewed.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Add a Contour tool (Modify group). Dragging away from a selected path or
shape's edge makes a copy of it that carries a live Offset Path effect,
grown by the drag; dragging toward the inside shrinks it. The result is
one undo step and stays editable until baked with Expand Appearance. A
second drag on a selected Contour changes its distance instead of
nesting another effect.
- object.contour: the command behind it (offset, sharp/round/square
corners, miter limit), usable over MCP and the control channel too.
- Contour tool: live preview, Shift rounds to whole points, Escape
cancels, a dashed guide with a white halo shows the outline the shape
had, and a pill shows the distance.
- Contour bar: a floating bar above the selection with the offset box,
Sharp / Round / Square and Bake (Expand Appearance).
- Toolbar slot under Modify (Basic and Advanced) and dc-contour.svg, an
original icon with its ASSETS.md row.
- Tests for the command, the tool's pointer gestures and the bar; the
border-with-a-gap recipe (two Contours, bake, Minus Front) is covered
end to end.
- Docs: beyond-Illustrator row, revision histories and the ROADMAP log.
Beyond Illustrator: a VectorCraft design built on Offset Path. Scores and
estimates unchanged.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Don Omondi