Before writing a PDF preset, ICC profile, plug-in, Color Settings,
disabled list or grants file, the store compared the new bytes with the
file already there by reading the whole file into memory, so a large file
left in the folder was read in full. The comparison now reads at most one
byte more than the new content.
path.insertAnchor (the Add Anchor Point tool, the Pen's Auto Add, the
Smart Pen's Alt-click on a segment and Alt-click with the Scissors)
added the anchor without changing the selection, so the direct-selected
anchors and selected segments after it on the subpath kept their old
numbers and the selection shifted onto the next points along. It now
renumbers them with renumber_after_insert, the helper path.reshape
uses. A selected segment that the new anchor splits stays selected as
its two halves, and the new anchor is direct-selected with them. Undo
restores the path and the selection in one step.
Docs: params text, docs/mcp.md, docs/target-app-parity.md.
While the app draws a document on screen, the live-effect plug-in runs of
its first view share a 2,000 ms budget (VectorCraft's own value); each run
takes the lesser of its 5,000 ms limit and what is left. A stage left out
for time, or one that times out, fails, has no plug-in or meets Safe Mode,
draws its input art unchanged and is deferred, and the status bar says how
many. Later drawings leave a deferred stage as it is until its input or
parameters change.
- effect.deferredStatus lists the deferred stages with object, effect
index, fill or stroke, plug-in and reason, objects in symbol, pattern,
brush and opacity-mask art included.
- Effect › Refresh Deferred Effects (effect.refreshDeferred {ids?}) runs
them again with a fresh budget and returns {refreshed, stillDeferred,
failed}.
- Each document has its own budget and deferred stages; exports, Expand
Appearance and commands run every stage under the per-call limit.
- The web build has no clock for the budget: its first view runs no
plug-in effect, and a refresh runs them.
Docs: docs/mcp.md, docs/plugins.md, docs/target-app-parity.md.
alert(message[, title, errorIcon]), confirm(message[, noAsDflt, title])
and prompt(message, preset[, title]) are globals in a script run. In the
app the run waits at the call for the person's answer, spends no
instructions while it waits, and every dialog has Stop, which ends the
run and puts every document back. A run over MCP or the command line
takes its answers in order from script.run's answers, a list of
{kind, value} records; a missing, mismatched or unused answer ends the
run. The report lists each dialog with its answer in dialogs, with
dialogCount and dialogsTruncated.
The interpreter gains a host call that waits at the call for its
result, from the script's own code only; a dialog called in a callback
of a built-in, a getter or a conversion throws in the app.
Docs: docs/mcp.md, docs/target-app-parity.md.
Before a script runs, `script.run` reads its preprocessor lines (`#` or
`//@` at the start of a line, outside strings and comments):
- `#include` and `//@include` put another file's text in place of the
line, looked for beside the including file, then in each
`#includepath` folder, then in each `JSINCLUDE` folder. A later
`#includepath` replaces the list.
- `#script` names the run unless `name` is given; `#target` takes any
value; `#strict off` is taken. `#strict on`, `#targetengine` and
`#engine` are refused as unsupported, and any other `#name` as
unknown.
`$.evalFile(path, timeout?)` runs a file in the same global environment
and returns its last value, `$.fileName` is the file being run and
`$.includePath` the include folders.
A script run from a file reads these files only in its folder and the
folders below it. Paths with a `..` name, links or junctions that lead
out, device names, streams and network paths are refused; a script
given as text reads none. A run reads at most 64 files 16 levels deep,
32 MiB of source in all and 1,024 paths looked up. An error in an
included or evaluated file is reported at that file's line and column,
and the report's new `file` field names it.
Docs: docs/mcp.md (script.run, Script Console), docs/target-app-parity.md.
Raster renders, ink renders, thumbnails and node renders now lend the
document's composite fonts to the font database while they draw, as the
PDF, SVG and EPS writers already do. A document that is not in front, a
document read from a file (library thumbnails, save previews) and a
placed document's art drew such type in the fallback font or in another
definition of that name.
When the pass that reads the document and the saved PDF preference
together failed with a data error, open read the whole document a second
time without the preference. A document past a read budget, or with any
other data error, was then read up to the budget again before it was
refused. Open now reads it again only when the first pass stopped at a
pdfCompatible that is not a boolean, which it tells by reading the
preference alone over the bytes up to the first pass's error position.
Follows #5557. Letters and digits lying on their side in vertical type on
a path kept their top toward the path's end, opposite the upright glyphs.
They are now set as horizontal type on the path sets them: baseline along
the path, top to the path's left, a quarter turn clockwise from upright
glyphs (CSS Writing Modes 3, Unicode UAX #50).
- The column is centered on the path: upright glyphs, letters on their
side and tate-chu-yoko blocks have their em box centers on the path
line instead of a column one em wide to the path's right.
- Upright glyphs are turned in the path effect's glyph space, so with
Skew on a curve their top runs back along the tangent and their x axis
stays up the page, as letters keep theirs.
- Tate-chu-yoko blocks on a path stand upright, stay whole on a curve and
move by Tate-chu-yoko Settings toward the path's start and left.
- A tate-chu-yoko block of mixed sizes sets every glyph in its first
character's em, on a path and off it.
Existing vertical type on a path redraws with these placements.
render_node_with and render_node_thumbnail_with ignored RenderOptions::supersample
and RenderOptions::precise, so the Asset Export tiles, which ask for both, were drawn
with the canvas's shape-by-shape edges and the fast render mode instead of the export's
look. A node render now supersamples Art Optimized edges as a page render does, and
picks the quality render mode when precise is set, for the art's offscreen groups too.
A linear dimension clicked from an anchor to a point that is not an
anchor (a point on a segment, or a point a Smart Guide gave) followed
the art at the anchor end only, so scaling the art turned it into a
long slanted dimension.
- A point on a segment is stored by its curve parameter on that
segment, and stays on it when the segment's anchors or handles are
edited.
- Any other point is stored against anchors (and, for a path whose
anchors lie on one line, handles) of the path under it, or of the
path at the other end, and moves, scales, turns and reflects with
that path. Beside a path whose anchors and handles all lie on one
line, such as a straight line, it keeps its distance along and
across the path: a reflection moves it as a half turn does, and a
scale that is not uniform moves it as a uniform scale does.
- When linked art is reflected, a linear dimension's line goes to the
reflected side, except for art whose anchors and handles lie on one
line.
- Deleting the art, changing its anchor count or whether it is closed,
turning an angle's arm into a curve, or making a measured circle or
arc no longer circular leaves the dimension where it was, no longer
linked, instead of removing it. Undo links it again.
Docs: docs/dimensions.md, docs/target-app-parity.md.
Break Link to Symbol on a selected group selected the art of every
instance it expanded that was itself shown and unlocked, including art in
a hidden or locked group inside the selection. The art now goes into the
selection only when it and every group and layer holding it are shown and
unlocked, the check Select All uses (select::is_selectable).
The text fields and menus of the Basic Character Formats, Advanced
Character Formats, Character Color and OpenType Features sections, and
the Style Name field of Character Style Options, are now named by the
label beside them, so screen readers announce them. This covers both
Character Style Options and New Character Style, which share the
sections. The New Character Style UI test runs with the accessibility
check on again, and a new test opens every section of both dialogs and
checks that no input is unnamed.
A PDF, an EPS or .ai without ruler units, a raster image, a metafile, an
Affinity file or an importer plug-in's document opened (and reverted) in
points whatever the General unit was. They now open in the General unit,
as the reference app opens files that record no unit. Native, SVG and DXF
files and a .ai or EPS with %AI5_RulerUnits keep their own units. Only the
displayed units change, not the art.
A popup measures its list on the first frame, when the scroll area does
not yet show its bar. When the bar then appeared, its column took its
width from the items, and the widest label wrapped onto two lines:
Distort & Transform in the Add New Effect menu, and Black and White Logo
in the Image Trace presets, in short windows.
menu_scroll now lays the items out at least as wide as on the popup's
first frame, so the bar's column widens the popup instead. That width
is kept until the popup closes and is never wider than the window has
room for. The items are laid out in the same child Ui on every frame,
so their ids do not change when the width does.
A click with the Reshape tool on an anchor of a selected path makes it
the focal point, and a click on a segment adds an anchor there that
becomes the focal point. Shift-click adds an anchor or a point on a
segment to the focal points, or removes an anchor that is one already.
Each focal point shows a filled anchor square in a larger hollow one.
A drag from a focal point moves all of them; a drag from another point
moves that point alone, and Shift only keeps the drag's angle.
path.reshape takes the other focal points as focal: [[subpath,
anchor]...]. Anchors that are not direct-selected stay in place, and so
do the ends of an open path unless they are focal points. A selected
anchor between two focal points moves by the whole drag, and one
between a focal point and an anchor that stays takes u² (3 - 2u) of
the drag, as before. A closed subpath with every anchor selected moves
whole: a Reshape drag on a fully selected closed path, and path.reshape
without radius on a closed path selected whole or not selected, move
the whole path instead of a local area. With radius, only the grabbed
point's subpath changes, with the falloff as before.
- An anchor added on a segment of a partly selected path is selected,
and the selected anchors and segments after it keep their points.
- A focal pair that names no anchor is refused ("`focal` names [0, 7],
which is not an anchor of the path"), and so is focal with radius.
Docs: docs/mcp.md, docs/target-app-parity.md.
Found while testing crates/engine/src/cmd/graph/data.rs:51 (parse_csv); written by crates/doc/src/graph.rs:497 (GraphSpec::to_csv)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Break Link to Symbol on a selected group, and Delete Symbol with its
instances expanded, turned a hidden or locked instance into visible,
unlocked art. The art now keeps the instance's hidden and locked state,
as Object > Expand does, and Break Link leaves hidden or locked art out of
the selection.
Opening a native file read its JSON twice: once for the document and once
more for the saved pdfCompatible preference. The format crate now takes
the preference from craft-vectorcraft-format's
Contents::read_with_pdf_preference (craft-libs#562), so a file is read in
one pass.
That method refuses a pdfCompatible that is not a boolean, which main
opens by skipping the value and falling back to whether the file carries
a PDF. Such a file, or one with any other data error, is read again with
Contents::read and scanned for the preference as before, so the files
that open today still open with the same result.
The craft-vectorcraft-format pin moves to 1b34eba41e, the craft-libs
revision craft-update already uses.
Each artboard can carry a guide label: one of the layer colors or a
custom RGB. Guides that belong to an artboard draw in its label color,
and guides without an artboard, or on an artboard without a label, keep
the guide color from the preferences. Selected guides still draw in the
selection color.
- Artboard Options has a Guide Label row (None, the layer colors with
swatches, or Custom with a color swatch).
- artboard.new and artboard.setProps take guideLabel: null, a layer
color's name, or #rrggbb. Any other value is an error. The inspect
summary lists guideLabel when one is set.
- The native format saves the label and skips it when unset; a preset
index outside the layer colors reads as no label.
- artboard.setProps no longer adds an undo step when nothing changes.
Docs: docs/mcp.md, docs/target-app-parity.md.
When File › Scripts runs a listed script that is no longer in the Scripts folder, the folder is read again on a thread. That read now has the window's context, so it asks for a frame when it ends and an idle window takes in the new listing (and the macOS menu bar follows it) without waiting for the next input event.
A warp of type may now spend up to four checks (its warp and its saved
grid, each with and without strokes). A try after the first is only
made while more checks are left than there are envelopes of type and
warped text objects still to come, so one envelope's retries don't use
up the checks of the others.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Summing only the end rows and columns let a grid symmetric about its
middle (a mesh bent halfway round) read by rounding, so it came out
turned or not depending on where it sat on the page. Every row and
column is now summed, a sum shorter than 1% of its parts (or than the
grid's reach) counts as no direction and falls back to the first row or
column, and the same comparison decides both cases.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With Distort Appearance, an envelope's contents map from the box the
file measured for them: their bounds with their strokes or without
them. For type, the size the file saves for that box is often out of
date, so it can't say which. Envelopes of type are now checked both
ways: as before, and mapping from their bounds with their strokes.
Whichever draws as the drawn art opens live.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
An envelope's mesh is turned upright by which way its rows and columns
run. That was read from the first row alone, so a warp bent past halfway
(its end columns leaning more than 45 degrees) read as turned round and
mapped its contents across instead of along. Read it from the first and
last rows and columns added up instead.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A warp of type whose own warp doesn't draw as its drawn art is checked
again as a mesh envelope on the grid the editing data saves for it, its
points and handles as saved. Where that draws as the drawn art, it opens
live in its place: the type stays editable in that shape, and the warp's
style and bend are lost.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
dotCooCoo