The Join tool drew a segment between the open ends of two crossing paths
instead of trimming what overhangs the crossing. path.joinScrub now looks for
two crossing open subpaths whose overhanging ends the scrub runs over, cuts
both at the crossing and joins the kept parts there with a corner, in one undo
step. Without a crossing the endpoint join is unchanged.
A clipPath with several children was imported as one compound path under
the first child's fill rule, so children wound in opposite directions
cancelled where they overlapped, and an even-odd child after a non-zero
one lost its hole. SVG 1.1 §14.3.5 defines the clip as the union of the
children's silhouettes, each computed on its own.
A clipPath with several children now comes in as a group of them as the
clip group's clipping path, each child keeping its own rule; a group
clips to the union of its members. One child imports as before.
A document's first frame (opened, or its tab chosen) rendered on the UI thread: only a
document with a frame already shown sent its frames to the worker. A heavy file froze the
window until it was drawn, 8.7 s for the file of #4155 and 1.4 s for a 50,000-path SVG.
The first frame now goes to the worker too, and the window shows the document's paper and
artboards until it lands. The UI thread waits for it up to FIRST_FRAME_GRACE (16 ms) when it
is queued (`Worker::wait`; `submit` says whether it queued), so a light document's art still
shows in the same frame. The longest UI-thread stall opening those files is now 64 ms and
62 ms (M3 Pro, one run each). The web build, which has no worker, is unchanged.
With type selected the Control bar now shows a "Paragraph:" link, which
opens the Paragraph panel in a popover as Character: does, and Align
left/center/right. The bar now trims strictly from its right end as it
narrows: X/Y/W/H, Distribute, object Align, area type's vertical alignment,
then the Paragraph buttons, then the link, each group measured. That also
stops Align and Distribute running past the bar's edge for other
selections. On a 1440 pt bar with one point type object the buttons show.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Type: a Backspace and the text typed after it in one frame apply in order
The Type tool received all of a frame's typed text and IME events
first, and the frame's Backspace, Delete, arrows, Home, End, Tab and
clipboard keys afterwards. Enter went to the tool before the text, and
several Enters in one frame added one line break.
A phonetic keyboard tool can replace a character it typed by sending a
Backspace and the new character: ন for n, then a Backspace and ং when g
follows. When the Backspace and ং arrived in one frame, ং was inserted
and then deleted, so ন was left where ং belonged (#2615).
route_type_input now takes the frame's text, IME events, editing keys,
Enter and clipboard events in one pass, in the order they came. The
Type tool still drops the keys of a frame that began with IME marked
text, and the keys that come while the IME composes. A key or clipboard
event that comes before a new composition in the same frame is now
applied instead of dropped, and an Enter in the same frame as an Escape
no longer types a line break.
* Type: a command bound to Cmd+Enter runs without typing a line break
While the Type tool edits text, Enter went to the tool as a line break
before the shortcuts ran, so a command bound to Cmd/Ctrl+Enter also
typed a line break. Enter now types a line break only when no command
is bound to its chord. Plain Enter, and Cmd+Enter with nothing bound
to it, type a line break as before.
* Type: Enter, arrows, Home, End, Tab and the clipboard go in type_text's ordered pass
Enter, the arrows, Home, End, Tab, Backspace and Delete with modifiers,
Type > Bold and Italic, and the clipboard events now join the ordered
pass in type_text that takes text, IME events and plain Backspace and
Delete, instead of a separate pass that replaced it. route_type_input is
split into type_input, which takes one event, and apply_type_input.
Every event the Type tool takes, text and IME events included, is
removed from the input.
An Enter press whose chord a command is bound to stays in the input for
the shortcuts. The check uses chord_runs_a_command, which runs_a_command
now calls for each press, so the separate Cmd+Enter check in
route_type_input is removed. A plain Enter and a bound Cmd+Enter in one
frame type one line break and run the command.
hook_ime_backspace_and_reinject_builds_vietnamese covers a Backspace and
the text after it in one frame, so the Bangla test is removed. The order
test covers Home, End, Tab, a paste, and a key that comes before a
composition starts in the same frame.
* Type: editing keys after an IME commit apply in the same frame
In a frame that began with a composition, the Type tool dropped every
editing key, also one that came after the IME committed its text, so a
frame of a commit, ← and a letter typed the letter after the committed
text without moving the caret. Editing keys after a commit in that
frame now apply in order. A key that comes while the composition is
still open, and an Enter in a frame that began composing, still belong
to the IME.
* Type: Shift+Enter types a soft return when keys apply in order with the text
The ordered Type tool input passed Enter to the tool without its modifiers, so Shift+Enter typed a line break instead of the soft return main added. Enter now carries the key's modifiers.
* Type: test Home, Tab and Backspace against the frame's earlier text
A new test types text, Home and text in one frame, Tab inside a line,
and a paste followed by Backspace, and checks that each acts on the
text the earlier events left. It fails on main, where those keys apply
after all of the frame's text.
The Enter and Escape loop in shortcuts::handle skips Enter with
`skip` instead of an `if`, which keeps the function under main's
cognitive-complexity limit.
With image mips on (the canvas, navigator and layer thumbnails), an image was colorized,
separated into the frame's ink plane and shown through Separations Preview's plates at its
full size, and only then shrunk to the mip drawn. The 141-megapixel image of #4155 made
1.6 GB of planes a frame, more than the image store holds, so every frame made them again.
The mip is now picked first and everything else is made from it, under the keys `kept_mip`
and `nearest_kept` already look up. A CMYK image's own inks are halved with its pixels
(`ink::key_inks`, `images::half_inks`), so it still paints them rather than inks separated
from its displayed colours. Colour bitmap glyphs follow the same order.
On that file the app's first frame went from 9.2 s to 1.6 s and the sharp frame after a pan
from 3.9 s to 8 ms (M3 Pro, one run each). Fine detail now shows its true average: 1-pixel
black and white lines show mid grey, where separating first showed them 44 levels darker.
Roadmap, target-app-parity (revision row, status line, evidence bullet and the UI chrome
area row) and ui-parity (revision row and a checklist row) record the swatch beside a hex
colour field, its Color Picker and the test that covers both.
Effect dialogs that take a hex colour (Outer Glow, Inner Glow, Drop Shadow's fields) show a
swatch beside the colour field: it follows the field as it is typed, and a double-click opens
the Color Picker over the dialog, whose OK fills the field and whose Cancel comes back to the
dialog. While the picker is open it previews nothing itself: the effect dialog previews the
colour when it returns.
The swatch is part of the generic effect parameter grid, so every effect dialog with a colour
parameter gets it, and the Color Picker learns to fill one field of a dialog opened over
(`over_effect`, a parent like Recolor Artwork's).
Test: dialogs::effect::tests::outer_glow_colour_swatch_opens_the_color_picker (swatch drawn
on #ffff00, a typed hex recolours it, a double-click opens the picker on it, OK fills Color and
the effect applies #00ff00).
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.
Hovering the band that moves a modal dialog (New Document's top edge and
tab row, other dialogs' headings) set the grab cursor, which Windows
shows as the four-way move arrows. It now keeps the arrow, as a title
bar does, and shows the grabbing cursor only while the dialog is being
dragged. Dragging still moves the dialog.
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.
Hovering looks up the bounds of every selected object, and each lookup
went through the memo key check, which compares the whole selection. That
made a hover quadratic in the selection: 1.5 s at 50,000 selected paths.
The walk now checks the key once and shares it across its lookups.
Part of #1280.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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.
A saved link path such as `Disk:Projects:Art::photo.png` (classic Mac OS)
or `/old/Projects/Art/../photo.png` names a file in `Projects`. Ranking
the files found compared `Art` first, so a file under a folder named
`Art` came before one under `Projects`. The `::` runs and `..` components
are now resolved before the folder names are compared.
A brush's art is read by a reader of its own, which was given the
patterns defined before it but not the record of which of them use the
version 7 form. A fill in that art with such a pattern then ignored its
offset, scale, rotation, reflection and shear operands, and placed the
tiles by the matrix alone. The brush-art reader now receives that record
as well, so those operands place the tiles. A brush whose art has such a
fill without all nine operands is now not read, as other art the reader
can't read whole isn't; before, the brush was kept.
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.
BFlat