Text Wrap Options showed Offset as a plain number in points. It is now a
distance field in the document's General unit: a bare number is in that
unit, a typed unit is read as typed, and OK sends points.
The field's range is the one object.textWrap.options keeps an Offset to,
-1000 to 1000 pt, read from the engine's TEXT_WRAP_OFFSET_RANGE. A value
typed outside it, or text that doesn't read, is refused: the field
flashes and the dialog stays open. The ends as the field shows them in
another unit (352.7778 mm for 1000 pt) read back as the ends.
In the dialogs drawn by the shared dialog window, a click on OK no
longer confirms the dialog when the field it takes the focus from
refuses its text, as Enter already did not. OK pressed from the keyboard
after such a click still confirms.
While a Type tool (Type, Area Type, Type on a Path and their vertical
versions) adds or edits type, the task bar shows the font family and
style menus, the Font Size combo and the Fill chip. Type selected with a
selection tool shows the same font controls beside its Create Outlines,
conversion and Type on a Path items. The controls change what the
Character panel's would: the selected characters, else every selected
type object. The Touch Type tool still shows no bar.
While a Type tool edits type, the Fill chip shows the selected
characters' fill, with "?" where their fills differ. On a canvas too
narrow for one row, the font controls go on a second row and narrow to
fit. Screen readers name each control.
A right or middle drag on a swatch or color group, a brush, a symbol, a
graphic style, a library item or group, a character or paragraph style,
an Appearance row or thumbnail, the Fill and Stroke squares, a Recent
Colors chip or the Gradient panel's thumbnail started the same drag as
the primary button, so it could reorder, copy, delete or apply the item.
These drags now start only with the primary button, as Layers rows
(#7016) and Artboards rows (#7005) do: `widgets::drag_source`, the
Swatches tiles, library panel items, text style rows and Appearance rows
check `drag_started_by(Primary)`, and the Appearance thumbnail shows the
grabbing hand only for a primary drag. Right-click menus and the Graphic
Styles panel's held right-button preview are unchanged.
On the open list's row of the current reference, drawn on the
accent-tinted selection fill, the icon draws its measure in the name's
colour instead of the accent, which lost its contrast there. The other
rows and the closed field keep the accent.
The Set Font Height Reference dropdown shows an icon before each
reference's name, in the open list and in the closed field: Em Box
frames the whole square around an A, Cap Height and x-Height put a bar
from the baseline to the top of a capital A or a lowercase x, and ICF
Box frames a square inset in the em square. The icons are painted with
egui's painter in the row's text colour and the theme accent.
widgets::dropdown_icon_names is a dropdown_names whose options carry a
painted icon.
When a repeated or reflected gradient needs more stops than a limit
allows, each run now leaves out the stops that change its colors
least, so every run is still written, instead of writing fewer runs
and padding the rest with the last color. Each run keeps its ends,
sharp steps, swatch-linked stops, tint and CMYK ink changes and spans
shaped by an off-center midpoint, and the colors are compared as the
gradient's method mixes them. This applies to gradients along or across
a stroke, CSS conic gradients, and PDF, EPS and .ai export.
- Outline Stroke's mesh fits the gradient to at most 1,024 stops, and
splits a stroke into several meshes when one would hold more than
2^20 points.
- Object > Expand leaves a gradient as it is when the box needs more
than 256 runs, instead of expanding only the first runs.
- CSS writes the stop positions of repeating gradients with four
decimals, so the period stays in place across the box.
- A swatch chip of a gradient that repeats gets at least four grid
cells a run along each side (at most one a point, and 128), so it
does not show one color when the count matches the chip's cells.
- docs/mcp.md states the stop limits and the PDF import sample budget.
A Recent Colors chip in the Color or Swatches panel now starts a paint
drag. Dropped on the Swatches panel's list it becomes a swatch of its
color, in its color model, through swatch.new as one undo step: on a
color group or one of its swatches it joins that group, elsewhere it
joins the ungrouped swatches. A click on a chip still paints the
selected art, and a drag does not.
A paint Alt-dropped on Registration now becomes a new swatch instead of
ending in a "can't be edited" error from swatch.edit.
A linear, radial, conic or diamond gradient has a spread: Pad (the
default, as before), Repeat or Reflect, with a count of 1 to 100
(VectorCraft's own limit). Repeat and Reflect run the stops that many
times along the vector (around the turn for a conic) and keep going past
both ends, Reflect running every other run backwards, as SVG's
spreadMethod does.
The Gradient panel has a Spread menu and a Repeats field, and the
Gradient tool marks where the runs meet. paint.setFill and
paint.editGradient take `spread` and `repeats`; bad values are errors.
Presets, swatches, blends, strokes along or across a path, Outline
Stroke and Object › Expand follow the spread; Expand gives each run the
same whole number of objects, and Outline Stroke's mesh keeps the color
on each side of a sharp step between two stops at one offset.
SVG writes and reads spreadMethod: SVG import now reads a repeating or
reflecting gradient as one that repeats or reflects once, instead of
expanding its stops over the shape. CSS writes repeating gradients.
PDF writes a conic's sweep shading over one run. PDF, EPS, legacy .ai
and the .ai editing data write the other kinds with their stops
repeated across the shape: at most 256 runs and 16,384 stops (256 stops
in .ai files), and for a radial or diamond no farther than 65,536 runs
from its center, with a warning past those. PDF import now finds sharp
steps in any axial or radial shading instead of blurring them.
Docs: docs/mcp.md (Spread), docs/target-app-parity.md, docs/gaps.md.
egui spreads a wheel notch over the next frames. When a number field took
a notch and the pointer then left the field, the rest of that notch
scrolled the panel under the pointer, or a panel drawn before the field.
- A begin-pass plugin (`WheelTailPlugin`) keeps, per viewport, how much of
the notches number fields took egui has not let out yet, and takes what
egui lets out of them out of each pass's scrolling before any panel
scrolls.
- It reads each pass's wheel events in order with egui's touch rules
(start, end, cancel, and the timeout of a touch that never ends), so a
turn inside a touch, or one ended in the same pass, leaves nothing owed.
- A turn the other way on the panel while the rest runs out scrolls the
panel by its whole size.
Review feedback: with no tolerance, pen or trackpad jitter turned a tap
into a drag and the value was no longer selected. A release within 1 pt
of the press is a tap; anything further keeps the caret.
Regression test: a_tap_with_a_pixel_of_jitter_still_selects_all_on_release.
A scatter, art or pattern brush dragged from the Brushes panel onto an
empty part of the canvas places a copy of its art there to edit,
centered where it is dropped (brush.placeArt). Dropped on a path, a
brush is still applied to it. A pattern brush is placed as its tiles in
a row, 10 pt apart, each in a group named for its tile, with an
unpainted rectangle at the back of a tile that has a repeat frame.
Calligraphic and bristle brushes have no art and are refused. A symbol
instance in the art is measured by its symbol's art.
Docs: docs/mcp.md, docs/target-app-parity.md.
Window › Swatch Libraries › Gradients gains Organic Fades, a gradient
library of fifteen fades (ten linear, five radial). Each runs through
three to five unevenly spaced stops with off-center midpoints, mixes
with the Perceptual method, and thins out to transparent at the end of
a linear fade or at the edge of a radial one. The colors are computed
from VectorCraft's own OKLCH anchors.
The library also lists in the Swatches panel's library menu, in
swatch.library.list (category "gradients") and in the Gradient panel's
Presets. swatch.library.add keeps each fade's stops, opacities,
midpoints and method in RGB and CMYK documents.
The other built-in libraries are unchanged: their gradients still mix
with Classic and keep centered midpoints, and a test checks it.
- Gradient previews in the Swatch Libraries panel, the Gradient
panel's Presets menu, swatch tiles and the toolbar drew every stop
opaque. Each chip vertex now takes the sampled opacity as its alpha
(freeform points too), and a chip with any translucent vertex draws
a white and gray checkerboard under the gradient. Opaque gradients
draw as before.
- When the preferences are applied, a saved gradient preset whose name
matches a built-in preset, or an earlier saved preset, in any case,
is renamed to the first free "<name> N" (N from 2), so a saved
preset named like a new built-in fade stays listed and can be
applied and deleted.
A fourth gradient kind, conic (also accepted as `angle` or `conical`),
sweeps the stops once around the center (the gradient's start),
clockwise on the page from the vector, with a seam where the last stop
meets the first. A negative aspect mirrors the sweep, and reflecting an
object turns its sweep the other way, also for a conic without a
vector or with a flat extent.
- Gradient panel: a Conic button in the Type row; the Aspect Ratio
field works for conic gradients and keeps a mirrored sweep mirrored.
- Gradient tool: the extent ellipse, aspect handle and center ring of a
radial gradient, without a focal point.
- Rendering, swatch chips, transforms, warps, plug-in round trips, and
Object > Expand into wedges or a mesh of columns around the center.
- Commands: a negative `aspect` is an error for linear and radial
gradients, and so is a `focal` point for a conic gradient.
- PDF export writes a function-based shading whose calculator function
turns the angle into the ramp, and PDF import reads a function-based
shading that turns around the origin of its space back as a conic
gradient, also when that origin lies outside the painted area. A
PDF/A file, or a conic with more than 97 stops, gets an image
instead.
- SVG export writes 360 solid wedges clipped to the shape for opaque
stops and an image otherwise, and a linear gradient on characters.
- CSS export writes `conic-gradient(from ...)`, with the stops mirrored
for a mirrored sweep.
- EPS and legacy .ai export write 360 solid wedges; the .ai editing data
holds a linear gradient along the vector with the same stops.
- .af files: conical gradients open as conic gradients.
- An export that writes the gradient in another form gives a warning.
Supersedes #2326 and includes switch87's code from it.
Co-authored-by: Gert Pellin <gert@pellin.be>
A pointer movement under the click tolerance was still treated as a tap,
so the focus click selected the whole numeric value. Any movement from the
press now keeps the caret; only a tap without movement selects all.
Regression test: a_sub_threshold_movement_released_as_a_click_keeps_its_caret.
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 scrolling menu list took its height from its own top down to the
window's bottom bars. egui picks a popup's side from its size on the
previous frame and moves a popup that does not fit back into the
window, so the list's height changed with where the popup was drawn.
In a short window the Add New Effect menu and other long menus moved
between two places while open, and a menu that did not fit crept a
few points per frame.
The list now takes its height from the room below and above the
button, row or point it opens from: below while that side leaves the
120 pt minimum, otherwise on the side with more room. A submenu
measures down from its row's top or up from its row's bottom. The
change is in menu_scroll, so it applies to every menu built on it.
The Properties panel's Stroke link and the Appearance panel's Stroke: row open
the Stroke panel as a popup. A click outside closed it without drawing it
again, so the dash field (or any other field in it) never saw itself lose the
keyboard, and what was typed went back. A popup closing while one of its
fields has the keyboard now draws once more first: the field lets go of the
keyboard to the click and commits, as it does in a panel. The Appearance
popup closes on the press, before it is a click, so for that last frame a
press is what lets go of the keyboard. Escape still drops what was typed.
A number field took every wheel turn that came while the pointer was
over it. When a panel scrolled a field under a still pointer, the field
stepped its value with each turn that reached it.
Number fields now follow the rule #6375 gave the closed font family
field. A field takes the wheel only when the wheel stream began over
it and the pointer was moved onto it, or pressed on it, after the field
last moved or was covered by a window or overlay. A stream that began
anywhere else stays there until 0.5 s pass with no wheel input or the
pointer is pressed on a field. A stream that leaves its field does not
return to it. It leaves when the pointer moves off the field or out of
the window, and when the field moves or misses a layout pass. Trackpad
momentum never starts a stream on a field. When some of a frame's wheel
turns land on the field and some land elsewhere, the field takes none
of them and the panel scrolls with all of them. The rule and its 0.5 s
are VectorCraft's own.
Moving the pointer from one number field to another within 0.5 s of
the last wheel turn now scrolls the panel until the wheel pauses or the
pointer is pressed on the new field.
The stream state and the 0.5 s gap move to widgets/wheel_stream.rs,
which both kinds of field use.
A set value on the hue ring above the f32 range became infinite before it
was wrapped into 0 to 360 degrees, so the ring dropped it. The value is
now wrapped first. Catalan, now a complete catalog, gets the panel's rows.
An arrow key or a screen reader's step outward at the edge of the
square returned the clamped point, which equals the current one, and the
wheel picked it again. For a CMYK fill the pick separated the color
again, so one step at 100% saturation turned C100 into C71 M16 and added
an undo step. color_field now returns no point when the clamped point is
unchanged; with no marker a key or an action still sets a color.
The saturation and brightness square, and the Color Picker's color field
it shares `widgets::color_field` with, gave screen readers its name and
both values but took none of their actions, so an increment, decrement
or set-value on it left the color as it was.
The field is now a slider over its first component (saturation on the
Color Wheel), from 0 to that component's units with a step of 1, as the
hue ring is from 0 to 360. Increment and decrement move it one unit as
→ and ← do, and set-value sets it; the second component stays where it
is. Without a marker the value reads 0 and a set value still applies, as
on the ring.
`screen_readers_read_and_move_the_ring_and_the_square` checks the
square's range, step and actions, an increment, a set value and a
decrement, and `the_color_pickers_field_takes_the_arrow_keys` checks an
increment on the Color Picker's field.
With None, a pattern or a mixed paint the hue ring and the square drew
no marker and also ignored the arrow keys and screen readers' increment,
decrement and set-value actions, so only a pointer could set a color.
They now step from the last solid color the panel shows; the marker and
the values screen readers read still need a solid color.
Window › Color Wheel opens a new panel: the Fill and Stroke proxy
beside a hue ring around a square with saturation across and
brightness up at the ring's hue. It edits what the Color panel's
sliders edit (the active proxy's color, the selected gradient stop or
freeform point) through the same paint commands, and a drag is one
undo step. Alt paints the other proxy, and Shift steps the ring by
45°. The Color panel does not change.
A pick is display sRGB and goes into the working RGB space through the
color settings. An RGB, CMYK or Lab color keeps its model, and a Gray
color or a tint of a global swatch becomes a process color in the
document's color mode. The wheel keeps the hue of the last pick while
the objects, the proxy and the color are unchanged, so a drag through
a gray and back keeps the hue.
A press gives the ring or the square the keyboard focus. The arrow
keys then step the hue by 1° or the saturation and brightness by 1%.
With Shift a press steps ten times as far, and with Cmd/Ctrl it steps
a tenth as far. Each press makes one undo step, and Escape or a click
elsewhere gives the keys back to the tools. Screen readers
read the ring as a slider from 0 to 360 with increment, decrement and
set-value actions, and the square as its name and both values. The
Color Picker's color field is the same widget, so it takes the same
keys and reports its name and values.
Color::to_hsb and Color::from_hsb now call the new rgb_to_hsb and
hsb_to_rgb, which the panel uses on display sRGB numbers.
The canvas, the gradient chips and the SVG, PDF, EPS and EMF writers mixed
freeform points in display RGB, while Object > Expand and Create Gradient
Mesh mixed them in the model the points share. Points that are all CMYK,
Gray, Lab or RGB now mix in that model in those places too. Points in
different models mix as before: in display RGB, and on ink planes as the
inks of each point.
This changes how existing art looks:
- CMYK and Lab points. With the default Generic CMYK working space and no
ink planes, halfway between C100 and K100 the canvas drew (17, 106, 139)
and now draws (54, 118, 143).
- RGB points in a working RGB space other than sRGB mix in that space.
- On ink planes (a CMYK document that shows transparency), RGB and Lab
points mix first and then separate.
Gray mixes keep their values, and CMYK and Gray points on ink planes draw
as before. RGB points in an sRGB working space draw as before except on
ink planes.
- PDF and EPS write a gradient whose points are all CMYK, or all Gray in a
CMYK file, as a CMYK image. PDF's Output settings convert it as they
convert any CMYK image.
- Darkening applies to the points before they mix.
- With Appearance of Black set to Rich, the canvas mixes a gradient with a
pure CMYK black point in display RGB, and the point fades from RGB black.
Each of the locator's nine squares was a Tab stop of its own, so Tab from
the field before it in the Transform panel, the Properties panel, the
Control bar and the dialogs that show it stopped up to nine times before
it reached the next field. The locator is now one Tab stop. While it has
the focus it shows an outline, and the arrow keys move the reference
point one square, stopping at the edges. A click on a square works as
before.
Screen readers get a radio group holding the nine squares as radio
buttons, with the current point as its value. The group is named after
the label next to the locator: Reference Point, or Pivot, Alignment,
Registration or Placement where the locator sets one of those.
With several objects selected, Shading, Revolve's Cap, Keep visible surfaces
only when expanding and the other checkboxes read a setting the effects hold
with different values as off. A mixed Shading also turned off the Lighting
tab's controls.
- A mixed checkbox shows a dash with its reset dot filled; a click turns it on
for every selected effect, and other changes leave it as each effect has it.
- A mixed Shading leaves the light settings available.
- A mixed menu choice shows its default; a mixed light color fills its reset dot.
- Add Light is unavailable while a setting of a single light is mixed.
A numeric field's up/down spinner and the chevron that opens its presets
were Tab stops, so Tab took three presses to get from one field to the
next in the Stroke, Character and Transform panels and two in a text
field with presets (Export for Screens' scale). The Transparency row's
opacity slider chevron was a Tab stop after the Opacity field too. All
three now sense clicks without taking the keyboard focus; clicking them
works as before, and Up/Down in the field still step it.
Without the chevron in the Tab order, Alt+Down (with no other modifier)
in a field with presets opens its preset list with the keyboard focus on
the chosen preset, or on the first one. Before, Alt+Down stepped such a
field down by one; Shift+Alt+Down still steps it by ten, and fields
without presets still step on Alt+Down. Enter on the focused preset picks
it and closes the list without also pressing a dialog's OK, as the combo
boxes do, and after a pick or Escape the field has the keyboard focus
again.
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.
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
The first commit centred the headings but left the New / Open buttons
and the community links on the left, as `horizontal` fills the width.
The buttons' row is now padded by its measured width, and the Home
screen's links are centred (label only, no icon; About keeps its
left-aligned icon rows). The test now measures where the centred text
lies and checks the buttons, the Discord button and the links.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_0113uEh3VQ6et4zDMZ9cqzkf
dotCooCoo