The Symbols panel menu's Reset Transformation and the Control bar's Reset
(shown while symbol instances are selected) give the selected instances
their symbol's own scale again, without rotation, shear or reflection, as
one undo step (symbol.instance.resetTransform). Each instance keeps the
center of its art's bounding box in place. Instances in perspective and
instances already at their symbol's scale are left as they are, no undo
step is added when nothing changes, and both controls are enabled only
while a selected instance would change.
Docs: docs/mcp.md, docs/target-app-parity.md.
Three tests failed on a loaded machine because they asserted elapsed
time. Each now counts the work that the slow behavior it guards
against would repeat, with a counter compiled only into tests:
- The CSS cascade test counts selector tests, at most two per element
(testing every rule against every element tests N x N). It styles
5,000 elements, so the slow behavior fails on the count rather than
on the hang guard, which now waits 300 s.
- The stacked-glow test counts the silhouettes drawn, 30 for 30 glows
with and without the shadow cache.
- The Zstandard frames test counts the bytes looked at to find the
zero padding.
The hang guards for invalid dash patterns, text layout and script
checks of a pipe wait 300 s instead of 20 s.
The History panel gets a New Document from State button at its bottom,
which runs the new edit.newDocumentFromState command. The command makes
a new document holding the art of a History panel row ({index?}, the
current state when omitted) and makes it the active document. An index
that names no state is an error and changes nothing.
The new document takes the next Untitled-N name, is marked unsaved, has
nothing selected, no steps to undo or redo and no modified date, and
leaves symbol, opacity-mask and pattern editing; the art drawn in a
pattern's tile is stored in the pattern, as Done stores it. Its links point at the files the
source finds, including files found in the source's folder away from the
links' paths. Those files are looked for only within the folders the
asking caller may read; for a caller without limits, within the folders
the caller that opened the source may read. The source
document, its steps and its saved state stay as they are; typing or a
drag in progress is first kept as a step, as Undo keeps it. While an IME
composes, the command waits, as Undo does.
Docs: docs/mcp.md, docs/target-app-parity.md.
The mesh tests now count each feedback path's subpaths, so a mesh that
drew its boundary instead of its mesh lines fails them. The progress-doc
lines name the Pathfinder, mesh and symbol instance outlines and the
limit's count of evaluated objects.
With Real-time Drawing and Editing off, each pointer move of a drag ran one
boolean union of a group's members to draw its outline. A group of 256
overlapping ellipses took seconds per move, and at 1,024 overlapping ellipses
the union went over its budget and no outline showed.
A move or handle drag now draws the outline of each visible member of a group
or intertwine, and of each object a blend, envelope, repeat, Pathfinder effect
or object effect evaluates to, without uniting them. A gradient mesh draws its
mesh lines and a symbol instance its bounds, as their selection highlights do.
The limit of 100,000 counts outline points and evaluated objects, so a
selection past it shows its moved bounds.
A compound shape or Pathfinder effect still evaluates its boolean on each move,
and so does a clip group whose clipping path is a group.
appearance.addFill, appearance.addStroke and appearance.duplicateItem can
put a new topmost row on a series mark with the paint the mark already
shows. When another mark of the series had set a different stored paint,
the mark's top paint did not change, so the graph kept the other mark's
paint and drew it again. A new topmost visible row now stores its paint,
as an Eyedropper append already does.
The Appearance commands do not store a stroke paint or weight for a series
that draws a Filled Lines band, but they do store a stroke opacity set on the
band, and the band's 0.25 pt black outline takes it when the graph is drawn
again. docs/mcp.md now says so, and a test covers it.
The params text of the Appearance commands that update a series' stored
paint said the graph stores the paint and weight of the topmost visible
fill and stroke. Each of them also stores that row's opacity, as
docs/mcp.md says. The text now names the opacity too.
paint.setFill, paint.setStroke, paint.none, Apply Fill to Stroke and Apply
Stroke to Fill stored a series' paint on the graph. appearance.setItem, the
Eyedropper, appearance.transfer, Clear Appearance, Reduce to Basic Appearance
and the add, remove, move and duplicate row commands stored no paint or weight.
An Eyedropper pick of a blue fill at 40% onto a red column drew red at 40%
after the next redraw.
These commands and Show All Hidden Attributes now store the paint and weight
of the topmost visible fill and stroke of a path directly in a series group,
in the same undo step. A color, weight or opacity that a command writes to that
row replaces the stored value even when the mark's own value does not change. A
row that has no paint before and after the command does not change the stored
paint. These commands store no stroke for a series that draws Filled Lines
bands, and a band no longer takes its color from an empty stored stroke.
The stored opacity also comes from the topmost visible row: hiding a top row
stores the row under it, and an opacity set on a hidden top row is not stored.
Follows #5501.
Edit > Keyboard Shortcuts gains Export Text..., which saves the set shown
in the dialog, as edited so far, as a UTF-8 text file the user names in a
save dialog with a .txt filter. shortcuts.exportText {path?} does the same
for the current set over MCP and the control channel.
The file holds a "Keyboard Shortcuts" line and the set's name, then a
Tools and a Menu Commands section with the rows the dialog lists, in its
order and named as it shows them: the name, a tab and the shortcuts as the
dialog shows them on the current platform. A row with no shortcut ends
after the tab. A path that is not a string, or a file that cannot be
written, returns an error and nothing is written.
Docs: docs/mcp.md, docs/target-app-parity.md.
The queued and replayed wheel events of the font menu are read only by
native-only code (the viewport-layer plugin and the replay loop). Their
fields that only that code reads (frame, menu, position, event and
amount of QueuedWheel, and target of ReplayWheel) and the push that
fills the queue now carry the same cfg(not(target_arch = "wasm32")) as
their readers, so
`cargo check --target wasm32-unknown-unknown -p vectorcraft-ui-egui`
no longer warns that they are never read. Native builds do not change.
Choosing a PDF/X standard without a PDF/X preset writes a file with no bleed
(BleedBox = TrimBox) even when Document Setup sets one, and the export gave no
warning about it. The export now warns when a PDF/X file has no bleed on a side
where the document's bleed has one. The warning comes ahead of the flattening
note, because the status bar shows only the first warning. The code adds a
warning and does not change what is written.
These cases do not warn: the PDF/X presets, Use document bleed settings, a
nonzero bleed on every side the document sets, a document with no bleed, files
that aren't PDF/X files, and Export for Screens rows whose artboards Include
Bleed grows.
The warning has a row in every catalog. The Summary's warning and error rows in
the Save PDF and Print dialogs now go through the catalog, so they show its
translations.
The Shape Builder, Live Paint and run_around tests in planar/tests.rs
measured elapsed time against a 5 s limit, and the large edit tests
(large_edits.rs, with the Lock and Hide All Artwork Above and perspective
Alt-drag tests that share `soon`) against 20 s. On a loaded machine they
failed without any change in the code.
- pathops: a test-only counter adds up the items `RectIndex::at` reads
and the segments `nearest_u` searches. The four planar tests assert a
bound on that count.
- doc: `tree_walks` counts, per thread, the walks of a document's tree
that lookups by id make. `soon` fails when a command walks the tree
more than 64 times, and keeps a 300 s wait for a hang. The tests that
named a 20 s limit are renamed.
Looking objects up one at a time in Delete or Offset Path, or scanning
the whole index or ring in the planar code, makes these tests fail.
Turkish rows translated backticked parameter keys and command ids, so a
message named a key the command does not accept: `stops` read as
"duraklar", `ids` as "kimlikler", `aspect` as "boyut", and `plugin.list`
as "eklenti.liste". Each of these rows now keeps the key in backticks as
the English has it. The rows that list accepted values ("corner",
"merge", first, previous, next, last, grayscale, websafe, true, false)
keep the values too, and the gradient stop rows read "stop" as a
gradient stop rather than the verb.
Seven Bulgarian rows quoted a placeholder with „“ where the English and
the rest of the catalog use backticks; they now use backticks.
A new test checks that every translated row in every catalog keeps each
backticked span of its English text.
Opening a document laid out every type object for its bounds and
baselines and threw the layouts away, and the first frame laid the same
objects out again. The open now keeps them, up to 128 MiB, and a frame
takes each one once.
A frame takes a layout only for a text object equal to the one laid out,
and only while the fonts, the system fallback setting and the hyphenation
exceptions are unchanged. When the last frame being drawn ends, the rest
are dropped if a frame took one, and all of them are dropped after eight
frames that take none. A layout with bitmap or color glyphs and a text
object with a gradient are not kept.
The only callers of `menus::menu_open` are the native palette-window
code in `panel_docking.rs` and its native tests, so on wasm32 the
re-export and the function were unused and `cargo xtask wasm` printed
two warnings for them. Both now carry `#[cfg(not(target_arch = "wasm32"))]`.
The menu bar still records whether a menu is open on every target.
The gradient swatches menu, the Image Trace button's list of presets, the
Appearance panel's swatch picker and the top level of the Add New Effect
popup (Appearance panel, Properties) had no length limit, so rows past the
bottom of a short window could not be reached. Each now uses menu_scroll.
Items, order and commands do not change, and a list that fits does not
scroll.
A tool group's flyout and the All Tools drawer draw in the main window,
so a floating panel's OS window covered them. On the desktop, except on
Wayland, floating panels now hide while either one is open, as they do
for a menu or a dialog, and show again when it closes. A flyout or
drawer left set under a hidden toolbar does not draw and does not hide
them.
Type › Font and the plug-in rows come from process-wide state, and a test
running alongside can add to them. Two tests read the menus more than once
and compared the reads, so a font added in between failed them:
fonts_that_load_read_the_menus_again adds Vertitest Sans, for one.
every_in_window_item_is_in_the_mac_menu_bar_once now lays out the Mac bar
from the in-window bar it compares it with, so both come from one read.
documents_and_selections_change_state_not_structure changes the document
between its reads, so it runs through undisturbed, which runs it again when
the shortcut, plug-in or font generations change.
``params` must be an object` read as "gradyan" and `missing `effect`` read as "isim", the keys of two other rows. Both rows now keep the key in backticks, as the rows next to them do.
A paste relinked every copy to the document's resources even when no
resource had another name or color and the objects linked no graphic
style. It now leaves those copies as they are.
Finding the pasted type looked each id up and compared every text object
with the ones already found. Text commands and the bounds refresh after
a paste now look all ids up in one walk and keep the found ids in a set.
Giving a pasted group new ids builds its map of old to new ids only for
an Objects on Path group, which is the only kind that reads it.
A pasted solid paint with no swatch link and a tint other than 1 now
keeps that tint when no relinking runs. Saved art carries a tint of 1 on
such a paint.
The Artboards panel menu asks whether Delete Empty Artboards can run on
every frame while it is open, and each ask measured the document. With
an open path of 200,000 anchors across two artboards, that took 70.4 ms
a frame in a release build.
The answer is now kept per open document with the version of the
document it was measured on, and is measured again when the document
changes. A later frame takes under 0.001 ms. The first frame after an
edit measures once. A change of the selection or the view keeps the
answer.
The main window's menu floor was stored once for the whole egui context,
so a menu in a panel's OS window stopped at the main window's bottom bars
instead of its own edge. The floor is now kept per window, and a window
with no recorded floor uses its bottom edge. A menu list is also never
taller than the window, so the last items of a menu stay reachable in a
100 pt window, below the 120 pt minimum.
The Digits, Stylistic Sets, Save Selection and Move to Group submenus,
the libraries menu, the Color Guide's Limit to Library menu and the Layers
panel's Filter popup now scroll the same way.
The reader holds an overflow paragraph break (`(\r) TX`) until more type
follows it. When that type came, the break took the state in force then,
not the state where the break was read:
- A story that started with the break took the `TV` direction of the
characters after it, so `1 TV (\r) TX 0 TV (Body) Tx` opened horizontal
and gave no warning.
- A break read in the other direction inside a story did not count as a
direction change.
- The empty paragraph that the break ended took the attributes of the
paragraph after it, while `(\r) Tx` keeps its own.
The pending break now records `TV` and, when it ends an empty paragraph,
that paragraph's attributes.
The sentence inside the braces made every_description_parses fail. The object.expand and effect.expandAppearance texts now also limit the replaced-art case to a dimension selected with that art.
Object > Expand left a dimension's recipe on its group, so the next move
redrew the live dimension and discarded the expanded art. Expand now ends
the live link of a dimension whose art it changes, in the same undo step.
Moving or scaling the group leaves its art as it is, the art no longer
follows what it measured, and undo gives the live dimension back.
Expand Appearance, Create Outlines and Outline Stroke had the same fault
and now do the same, also when they reach only a part of a dimension. A
dimension whose art a command leaves as it was stays live. A dimension
selected with the art it measures becomes a plain group when Expand,
Expand Appearance or Outline Stroke replaces only that art.
The fill read apart from a clipping path that was read on %_ lines, and
the copies of its subpaths, are recorded as read on those lines too, so
the copy of a look's art that is removed takes them along. The file
format notes list a compound clipping path whose subpaths paint
differently among the exceptions to a clipping path keeping its fill.
In a compound clipping path whose subpaths paint differently, the fill
of a subpath that does not clip was read apart with the clipping
subpaths' fills. Only the clipping subpaths' fills are read apart now,
and a subpath that does not clip keeps its fill, as before.
A fill read apart from a clipping path took a copy of the clipping
path's opacity mask whose art kept the original's ids, so the document
held two objects with one id. The copy of the mask's art, and the
subpaths of a fill read apart from a compound clipping path, now get
ids of their own and stay linked to the same swatches.
Each layer a multi-layer mask covers gets a copy of the mask's path, so
a fill kept on that path painted in every layer, over the art the mask
covers in the layers before. The mask's fill is read as a path of its
own again, where the mask's path is, and the copies have no fill. A
fill read apart from a compound clipping path is a compound path whose
subpaths do not clip and have ids of their own. A fill read apart, its
subpaths and their points count toward the importer's object limit.
Docs: docs/file-format-parity.md.
The reader took the fill off a clipping path in a file's editing data and
added a copy of the path, holding only that fill, under the art it clips.
A clipping path paints its own fill under the clipped art and its stroke
over it, so the reader now keeps the fill on the clipping path. A filled
clipping path opens as one path instead of two, in a clipping group, a
clipping layer and each level of nested clipping paths. Its note, tags and
gradient stroke (`1 BB`) are on that path as before.
A compound clipping path whose subpaths all paint alike keeps their fill.
When its subpaths paint differently, the fills of the filled subpaths are
still a compound path of their own under the clipped art, so a subpath
the file does not fill stays unfilled. Clipping paths in a compound path
that holds its drawn look still have their fills read as paths of their
own under the art, each with its clipping path's opacity mask.
Docs: docs/file-format-parity.md.
A dialog's OK ignores a repeat of Enter, and an egui context keeps a key
down until it is released. The Color Picker, Swatch Options and Define
Grid tests pressed Enter in one context without releasing it, so every
press after the first was a repeat and the dialog stayed open. Each test
now releases Enter after pressing it.
With the caret before a # that stays, bare digits are not inserted ahead of it; a full code replaces the text instead. A paste that replaces the field's digits also removes bare-digit pastes kept earlier in the same frame.
A click put the caret among the six digits and the text box holds seven
characters, so only the first character of a pasted code went in. The
field then held no new color, and Enter closed the dialog with the old
color. A press on a field drawn before the hex field also dropped what
was typed, while Tab and Enter applied it.
The hex fields of the Color Picker, Swatch Options, Recolor Artwork, the
Color panel, Document Setup, Duotone, Color Themes and Perspective Grid
now share one set of rules:
- A click or keyboard focus selects the digits.
- A code of six digits, with or without #, replaces the digits wherever
the caret is.
- A code of three digits also replaces them, unless the paste holds only
those digits and exactly three digits stay. Those digits then edit the
text in place.
- A paste of only one, two, four or five digits edits the text in place
when it does not cover all of the text and the result has at most six
digits.
- Any other paste leaves the field as it was.
- A press elsewhere commits the text in the frame of the press.
- A commit returns the digits without # and writes a three-digit code out
as six, so Duotone reads a typed # and Perspective Grid, whose parser
reads six digits only, takes a three-digit code.
Part of #5013
Each brush art section keeps only the first definition of each color name, and at most 20,000 names. The art of the brushes that come in brings at most 20,000 different color names in all, every section's color operators before any section's gradient stops, so art that no brush uses or that a later section replaces takes no places. Colors left out still count toward the color mode.
A test also checks that a global process color which only a brush's art defines with its color operator stays a process color when a gradient stop names it.
The reader kept a brush's art but dropped the colors it read from it, so
a spot color that only a Scatter or Art brush's art used made no swatch,
and the art's process colors did not count toward the document's color
mode.
The reader now keeps each brush art section's colors with its art. When
the document is finished, the colors of the art that a kept brush uses
are added after the rest of the file's, in the order the art was read:
its spot colors make swatches and its colors count toward the color
mode. Art that no kept brush uses (a pattern brush's tiles, a section
that a later one of the same name replaced, a section inside a symbol's
definition) brings none of its colors, and a spot color that the page's
art, a pattern or a symbol also defines keeps the value defined there.
Part of #637.
Stair Step's glyphs stay upright, so their matrices never show the path
turning and the spacing fit found no turn at all. The fit now takes the
path through each glyph's origin, which lies on the path, and measures
how far it turns over a step from the circle through three origins in a
row.
3D Ribbon's level baseline faces the way the path runs, so where the path
runs left its baseline and foot are turned round. The spacing fit read
that as a half turn and left the pair out, so a short run on either side
of a vertical tangent came in with no spacing. The fit now turns those
glyphs back first. With an alignment, the two glyphs either side of that
point lie on opposite sides of the path, and that pair is left out.
The spacing fitted from a type-on-a-path layout measured each turn against
the glyph's own foot. Skew's feet stay upright, so on a tilted or leftward
path the turn picked up a false angle and the fitted spacing was wrong (a
straight path at 30 degrees gave -9.7 instead of 0). Effects other than
Rainbow and 3D Ribbon now measure the turn against the baseline turned a
right angle.
The file-format doc states that a frame whose options set key 6 to true
keeps the default effect, alignment and Flip.
Type on a path from a file's text document opened as Rainbow on its
baseline, not flipped, whatever Type on a Path Options the frame kept.
Each frame now keeps its effect (Rainbow, Skew, 3D Ribbon, Stair Step,
Gravity), Align to Path (Ascender, Descender, Center, Baseline) and Flip.
A code or flag that can't be read leaves that option at its default.
Flipped type opens with the frame's path reversed once, after a copied
object takes its own art path, and an open path's end bracket stays so
the type starts where the file's range ends.
Spacing is still fitted from the file's layout. The fit now measures along
the path when Align to Path moves the baselines off it, and it follows the
glyphs' feet under 3D Ribbon, whose baselines stay level.
`rdp` measured each sample to the infinite line through the ends of the
line that would replace it. A sample beyond either end could be far from
that line segment and still be dropped: a line to (100, 0), a 0.2 pt
U-turn and a line back to (50, 0.2) became one line at a tolerance of
1 pt, leaving the tip 50 pt away. `rdp` now measures to the segment, so a
sample beyond an end is measured to that end, and a zero-length chord
measures to its point as before.
The test `a_path_that_turns_back_past_its_end_converted_to_straight_lines_keeps_its_tip`
covers that path.
The test's path zigzags by 0.1 pt. At level 100 the tolerance is 1/32 pt,
and a fit now stays within it, so the preview at that level leaves the
path as it was. Level 0's 32 pt tolerance takes the zigzag out.
Object > Path > Smooth weighed every sample within three spreads of each
point, so the work grew with the square of the anchor count on traced
paths: 360 steps per sample for 1,000 anchors and 2,949 for 16,000.
Consecutive samples within 1/16 of a spread of each other are now
weighed together as their count at their mean place, found through a
tree of sums over the run's samples. A traced outline takes 203 to 286
steps per sample from 1,000 to 64,000 anchors, and every smoothed point
stays within a thousandth of a spread of weighing the samples one by
one (300 random runs).
dotCooCoo