Count nine-slice symbol art with clips off, as place_symbol_art_unclipped
places it, so art crossing the guides is not over-charged; add a test that
the flattening segment budget stops a path independently of the point
budget; format.
parse_range walked every index of every interval, so a range that names
the same pages many times ("1-,1-,1-,...") cost the number of parts
times the page count. Picked indices now link to the next unpicked one,
so each page is visited about once whatever the overlap.
limit() replaced each too-deep container by its children with
Vec::splice in the middle of the sibling list, moving every later
sibling each time: a wide list of such containers took quadratic time
to load. The list is now rebuilt in order from a worklist, so each node
moves a bounded number of times.
A Repeat kept up to 250 000 instances whatever its source held, and the
nested-instance count skipped the art of opacity masks. Expanding copied
the whole source for every kept instance, and a Repeat inside an enabled
mask was evaluated again for each outer copy.
The budget now counts the Repeats inside enabled opacity masks, and keeps
a second bound, MAX_REPEAT_COPIES, on the nodes and path anchors copied
in all (nested Repeats included).
A guide whose saved position leaves a center band narrower than the minimum no
longer jumps to the art's edge when a drag does not move it closer to the
opposite guide. The 9-slice scaling line in docs/target-app-parity.md no longer
says guides are not drawn in symbol editing mode.
While a symbol with Enable Guides for 9-Slice Scaling on is edited in
symbol editing mode, the canvas draws its two horizontal and two vertical
guides as dotted lines across its art, with any tool and with ruler guides
hidden. With the Selection tool the pointer near a guide shows the Move
cursor, and dragging the guide sets it through `symbol.options`'s
`nineSliceGuides` as one undo step; Escape during the drag puts it back.
A guide within 4 screen pixels takes the press before the art and the
bounding box. A dragged guide stays within the art's box and stops short
of the opposite guide; positions outside the art are not supported yet.
A character style whose Up/Down or Left/Right offset lies past MAX_COORD
either way now opens with the nearer end, as text runs already do, so
text that takes the style no longer gets the out-of-range offset. An
offset within range is not rewritten.
- Drag strokes, fills, characters and effects to move them, or drop them
on the Duplicate or Delete button
- Select several rows with Shift/Cmd-click and move them as one block
- Delete and Backspace remove the highlighted rows, not the selected art
- Row links open their panel (Stroke, Character…) as a flyout
- Stroke weight spinner follows Units > Stroke
- Transparency panel edits the active fill's or stroke's opacity
Area type made from the editing data's text document came in with one
row, one column, the 18 pt gutter and the Ascent first baseline,
whatever its frame kept. Each area frame now keeps its rows and columns,
the gutter between rows and the gutter between columns, and its first
baseline (Fixed, Cap Height, Leading or x Height) with its minimum,
scaled with the art's units. Each frame of a thread keeps its own, and a
key that is missing or can't be read leaves that option as it was. A
first baseline the frame keeps is no longer replaced by the fixed one
that matches the file's first line.
AreaOptions gets row_gutter (rowGutter, left out while unset), which
layout spaces rows by; text.areaOptions takes and reports rowGutter, a
gutter given alone sets both, and the Area Type Options dialog shows
Row Gutter.
Fixes#2763. An object whose editing-data dictionary holds the text wrap
options keeps them (offset in points, 6 pt by default, clamped to
±1000 pt; Invert Wrap), and the objects after the text in a version 7
wraparound group (`*w` … `*W`) are wrap objects at the default options.
Area type below a wrap object in its layer flows around it before the
layers are compared with the page, and threaded type flows on into its
next frames. A Large Canvas file's offset is scaled with its art.
The wrap resolver moves into `vectorcraft_doc::text::resolve_wrap` for
the import and the edit-time refresh, and builds each wrap object's
outline once per layer. A file whose wrap shapes would copy more than
2,000,000 anchors is not read from its editing data.
Docs: docs/file-format-parity.md.
Applying a data set wrote a text value into the bound frame only, and the
thread's reflow then joined it with the other frames' old text. The art no
longer matched the row it had just applied, a captured row applied back lost
text, and a value bound to a later frame deleted the rest of the story.
- A text value bound to any frame of threaded text replaces the whole story,
which then flows through the frames again. `overflow` names the story's
last frame.
- Capture Data Set, Update Data Set and the Variables panel's match check
read such a frame as the whole story, frames joined in thread order.
- When any frame of the story is locked, the text value is skipped and
counted in `skipped`, and the story is not read.
- Two text variables bound in one story apply in definition order, as for
two on one object: the one defined last wins.
Docs: docs/mcp.md.
variable.lock's params text and the doc comment on Variables::locked said every
dataset command still runs while the variables are locked. dataset.import is
refused when its header would define a variable; both texts now say so, as
docs/mcp.md and dataset.import's params already do.
A save with precision rounded the tier-1 Intertwine area but left the
areas of tier 2 and up exact. The format test now gives the object a
tier-2 area too, and sets the symbol's new dynamic field.
Character panel menu > Standard Vertical Roman Alignment, with Show East
Asian Options, is now a check item. It sets a new character attribute,
`standardVerticalRoman` (text.setFormat, text.setRangeStyle), off by
default and saved only when on. In vertical type the marked Latin
letters, digits and other characters that would lie on their side stand
upright one below the other, each in its upright cell. Spaces keep their
width and tate-chu-yoko blocks stay across the column. Horizontal type
keeps the mark and does not change. A combining mark shaped as its own
glyph turns with its letter, in Latin and CJK upright type alike.
Character Style Options labels the Character Alignment row "Character
Alignment" and gives Standard Vertical Roman Alignment its own checkbox.
Reset Panel turns the attribute off. PDF and SVG export place the glyphs
from the layout and need no change.
From the CodeRabbit review: the Serbian and Croatian quote marks name
their sources with the Pravopis's ISBN and links to CLDR's sr and hr
data, in the code and in docs/type-parity.md; the quotes test says what
it checks.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_011wCJ9DkszhZKxYL3LgcSfZ
Document Setup and Character › Language list Serbian: Cyrillic (sr-Cyrl),
Serbian: Latin (sr-Latn) and Croatian (hr). Text tagged Serbian is shaped
in it (#4940, #4959), so fonts draw their Serbian forms, the italic б,
г, д, п, т. Serbian quotes follow the Pravopis (Matica srpska 2010,
т. 168) and CLDR: „…” and ’…’; Croatian per CLDR: „…“ and ‚…‘.
Illustrator lists Croatian but not Serbian.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_011wCJ9DkszhZKxYL3LgcSfZ
Create Gradient Mesh and a Mesh tool click estimated each border edge's
handles from the surface's derivatives, so the mesh's border cut across a
curved outline: a 1x1 mesh over a 400 x 300 pt ellipse came out up to
7 pt off it, with corners at its four mesh points. Each border edge now
takes the handles of the cubic that best fits the outline between its
points, and handles where two border edges meet along a side stay
collinear.
Deleting a mesh line (Alt-click with the Mesh tool) joined the two edges
on either side with a straight line, which turned the ellipse's border
into a diamond. The joined edge now keeps the outer handles, grown back
to the length they had before the line split the edge.
Character panel > Language sets the selected characters' language;
text.setFormat and text.setRangeStyle take `language` by name or tag
(unknown: an error), and character styles carry it. Document Setup's
language list gains Hindi, Marathi, Gujarati, Bengali, Punjabi, Tamil,
Telugu, Kannada, Malayalam, Odia and Urdu, with catalog rows; the
Digits menu's numeral names move to a digits context, as Hindi is now
also a language name.
Characters get a language (CharStyle::language, a BCP 47 tag of one of
Document Setup's languages; none for the default, English: USA, saved
only when set). The shaper sets it on the HarfRust buffer, so fonts use
their language forms (OpenType locl): Turkish keeps fi apart and the dot
on its i. Runs in different languages are shaped apart. New type takes
the document's language.
Found while testing crates/doc/src/setup.rs:308-316 (keep_in_range)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
locate_within maps a point outside the outline to the nearest point of the outer edges, so a patch folded past the outline does not take an edge click as an interior one.
A Mesh tool click within the hit tolerance outside a gradient mesh hit the
mesh, but object.mesh.addLine looked for the point inside the outline only
and failed with "point is outside the mesh". The same click on a path's edge
made a 1x1 mesh without the line.
- GradientMesh::locate_within takes a tolerance: a point outside the mesh
within it of the outline gives the nearest point of the edge.
- object.mesh.addLine and object.mesh.create take an optional `tolerance`
(0 by default), and the Mesh tool sends its hit tolerance.
A sample now shares one work limit, counted in objects looked at, across
hit tests, pattern tiles and the tile or symbol art it places for hit
testing, and gives no color when the limit runs out. Objects that give
no color are skipped by id instead of cloning the document for each
retry, each nesting level reuses one scratch document that holds only
the symbols, and patterns and images are looked up in the sampled
document. The sample runs on a deep stack and follows art inside art at
most 16 levels deep.
A symbol instance is now sampled as it draws: its art is stained by the
instance's fill and placed by the instance's transform without moving
the patterns in it or scaling its strokes. Between the shapes of its art
the sample shows what lies below instead of the stain, and a pattern
tile holding an instance is sampled wherever the symbol's art reaches.
Brandon Thomas