Under --automation-read-root, document.json names a linked image or
placed file in a stored brush's art outside the read roots by its file
name alone, as it does in the layers. A stored brush entry that does not
read as a brush is left out of the reply, and a stored brush library
that is not a list becomes an empty one. A link whose file is inside the
read roots loses its stored relative path when that path leads outside
them, from the folder of the file the document was read from or from the
document's own folder.
Under automation read roots, a reply's base64 `thumbnail` (a library
item's PNG in `library.get`, a page's PNG in `document.pdfInfo`) was
searched for hidden library paths like any other text, so a short path
that happened to occur in the encoded bytes was rewritten and the image
broke. `thumbnail` now joins `dataBase64`, `pngBase64` and
`thumbnailBase64` as encoded data that is left unchanged; text under it
that is not base64 is still searched.
With Size 0, Roughen moved no point but still replaced each segment
with its Detail's points joined by straight lines (Corner) or by a
smoothed curve through them (Smooth), so a curved path lost its shape.
At Size 0 each segment is now split at the Detail spacing into pieces
of equal length on the segment itself, with `pathtools::insert_at`: a
straight segment gets corner points without handles, and a curve gets
smooth points whose handles follow it. The path keeps its outline with
Smooth or Corner points alike. The params text of `distort.roughen`
describes size 0.
`insert_at` now counts the anchors added before each returned mark in
one pass. It counted them again for every split segment, which took
quadratic time on a path with many split segments. Its results are
unchanged.
Existing documents with a Roughen of Size 0 on a curved path, or with
Smooth points, draw differently.
This is VectorCraft's own rule. What Roughen does is described in
https://helpx.adobe.com/illustrator/desktop/manage-objects/reshape-transform-objects/distort-and-transform-effects-in-illustrator.html
Under automation read roots, `ui.inspect` kept a folder preference whose
stored value was readable even when the trimmed path the app uses was
not: ` /outside/fonts` reads as a name in the working folder, while the
app uses `/outside/fonts`. A folder preference now stays only when both
forms are readable. A reply string is decoded for path matching only when
it holds a `%XX` escape, so a string such as `width="100%"` is no longer
decoded and thrown away. The library list line in the progress doc now
states when a hidden library's `loaded/<file name>` id moves.
docs/file-format-parity.md held 36 copies of the paragraph on the
editing copy of a file. #6202 and #6249 each added a combined copy
without removing the copies it replaced, so the count went from 34 to
35 and then to 36. The section now holds one copy: #6249's combined
copy, with the Align to Path distance clause that seven of the other
copies carry from #6247. Every other clause of the removed copies is in
the kept one, word for word or in the newer, longer form another copy
wrote. The older Align to Path clause, with its measurements for one
font at 24 pt, is removed because #6247's wording replaces it. The
paragraph now starts with a capital letter.
The summary table also repeated its "Formats opened or placed" and
"Formats saved (Save As)" rows. The older row of each is removed: the
one that still lists HEIC/HEIF as missing, and the one that lists fewer
contents of the editing copy that `.ai` saves write.
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.
Each writer marks its notes as a loss (something of the document that the
file leaves out or that reaches it changed) or as a note on the options
(an option it didn't apply or applied another way while the art reaches
the file as it looks, or something an option turns off). The PDF, SVG,
EPS, legacy .ai, DXF and HP-GL writers return their notes on the options
in a list of their own (`setting_notes`) beside `warnings`, and the
engine's `Encoded` does the same.
The replies of the save and export commands, and of
`clipboard.exportPdf` and `clipboard.exportPng`, list the losses first,
each kind in the order the writers gave them, across every file that
Export for Screens writes. The status bar names the first note, so an
export to lossy WebP of type in a font that isn't installed now names the
fallback-font note instead of the lossy WebP note. A print to a file
keeps the order its notes are given in.
With a Shaper Group or one of its faces selected, a Shaper click within
3 screen pixels of one of the group's original shapes' outlines enters
Construction mode with that shape selected, also where the outline runs
through a merged face. shaper.select takes a tolerance in points
(default 3, at most 1000); hidden and locked shapes are skipped, and a
Shaper Group above the selected one still takes the click.
The text document reader never read a story's manual kerning, so type
kerned by hand in a .ai or EPS editing copy came in with automatic
kerning on every pair and drifted from the file's page from each kerned
pair on. Envelopes of such type drew apart from their drawn art and
kept it.
Key 8 of a story's text holds the kerning as runs of characters (key 1),
each with a value in thousandths of an em (key 0 of key 0) or empty
where the automatic kerning applies. Each character with a value now
takes it as its Kerning, the space after it, and the style runs split
where the value changes. A value that can't be read keeps the automatic
kerning, a run whose length can't be read ends the runs there, and past
65,536 runs the characters keep the automatic kerning.
- ate.rs: Story reads the runs (manual_kerning) and node() splits its
text runs at them (Kerns), with a unit test over values, style-run
boundaries, hostile values and the laid-out gap, and one that pins
the limit of runs.
- tests_native.rs: an imported story with kerned and automatic runs.
- docs/file-format-parity.md: status line, mapping line, revision row.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The new General preference Show Bounding Box While Moving and Drawing
(`boundingBoxWhileMovingAndDrawing`, off by default) keeps the bounding
box and its handles visible during two kinds of drag, with View › Show
Bounding Box on. While a drag moves the selection (a Selection tool
move, an Alt-drag copy, or a shape tool's move by the center point),
the box is drawn where the drag has moved the selection. The box is
measured once when the drag starts and offset by each step's move.
While the Rectangle, Rounded Rectangle, Ellipse, Polygon and Star tools
draw a shape, the box is drawn around the shape. A rotation and a
widget drag still hide the box until the release. The Line Segment
tool, the Pen, the Pencil and the Paintbrush draw no box.
With the preference off, the box hides during a move (#737, for #712)
and while a shape is drawn (#5839), as before. A Selection tool move
with Real-time Drawing off still moves the box with the pointer, and a
shape tool's move by the center point hides it in both modes.
With Real-time Drawing off, the box of a shape being drawn is measured
from the pending preview, in the color of the layer the shape goes on.
A shape being drawn shows no box until a preview step has succeeded,
so a failed preview does not show the box of the selection from before
the drag. The preference's label has a row in every catalog.
Session::deferred_move() is replaced by Session::move_drag_box(), which
returns the moved box, and Session::deferred_transform_box() now also
returns the layer color of the box.
Docs: docs/mcp.md, docs/target-app-parity.md.
A blend between two strokes drawn with a pressure-sensitive brush gave
every step the pen recording of the nearer key, so the brush jumped at
the middle step. The steps now interpolate the pressure, tilt, bearing
and rotation at every position either key has a sample. A key without a
recording counts as half pressure, half tilt and 0 degrees, as brushes
read it. Angles turn the shorter way round, and steps and whole turns in
a recording stay in the steps. Different brushes still switch halfway.
The font menu opened at its field's width, so from the Control bar's narrow
Character field the filters wrapped one chip per line and family names were
cut off after a few letters.
- The filters keep the same four rows wherever the menu opens: the scripts;
the star, Any Kind, Serif / Mincho, Sans Serif / Gothic and Rounded;
Script / Brush, Monospaced and Decorative; Font Technology with Variable.
- The menu opens at least wide enough for those rows and for a family name
up to 220 points wide with room for its sample, up to 60% of the window,
and stays in the window. A field wider than that keeps its width.
- Where the row has room, the sample starts after the widest name instead of
halfway along the row. It takes the row's whole height instead of 4 points
less, so samples draw larger at every Font Preview Size.
Requested by POGO.
A recorded command whose step passes a limit only from the values it adds
as it runs keeps its edit. The status bar names the limit, later recorded
commands do not run, and Stop Playing/Recording leaves its step out.
file.new refused a side over 163,830 pt, while artboard.new took larger
artboards. Both now take each side more than 0 and at most 3,999,856 pt:
the 4,000,000 pt the canvas reaches from the origin, less a 72 pt bleed
on both sides. A side outside that range is refused with an error that
names the limit in points and, when the document's units are not points,
in those units, rounded down so the value shown is accepted.
artboard.new now refuses a supplied width or height of 0 or less instead
of making a 1 pt side, and refuses a size taken from a larger artboard.
Saved and Recent presets are read with sides up to the new limit.
Follows #6643.
The Width menu now offers Tilt, Bearing and Rotation beside Fixed and
Pressure, each with the second width. Tilt goes from Width with the pen
lying flat to the second width upright; Bearing and Rotation go from
Width at -180 degrees to the second width at 180 degrees, as Scatter
Brush Options' modes do. A stroke drawn without that input is half way
between the two widths. brush.options takes width_mode tilt, bearing
or rotation.
With the Artboard tool chosen, the Align panel's Align Objects,
Distribute Objects and Distribute Spacing buttons, their UI commands and
the Control bar's Align and Distribute buttons act on the artboards the
tool has selected, as the public page describes:
https://helpx.adobe.com/illustrator/desktop/create-manage-artboards/organize-manage-artboards/align-and-distribute-artboards.html
- artboard.align, artboard.distribute and artboard.distributeSpacing
move whole artboards with their guides, and with the art inside them
when Move Artwork with Artboard is on, in one undo step. No undo step
is recorded when no artboard moves.
- Align To offers Align to Selection and Align to Artboard. Align to
Artboard keeps the active artboard in place, and the Distribute
buttons then send the Distribute Spacing value. A locked artboard
stays where it is. These rules are VectorCraft's own.
- The Control bar shows the Align buttons, the Align To menu and the
Distribute buttons after the artboard controls while it has room.
Docs: docs/mcp.md, docs/ui-parity.md.
Gujarati text from a PDF came in jumbled even with its fonts installed:
- A glyph with no advance (a vowel sign or anusvara set over its letter)
was taken for vertical type and opened as an object of its own, which
type then drew on a dotted circle. In a font the file writes
horizontally it now stays on its line.
- A line read glyph by glyph is not always the text that was set: the
file draws a vowel sign before the consonant it follows, and may not
name a conjunct. A line with characters of U+0900 to U+0DFF is now set
again and its glyphs compared with the ink the file drew; when they
differ the line keeps the file's glyphs as outlines, with a note.
Tests: crates/pdf/src/tests/reshaped.rs (two fail without the change).
Preferences > User Interface > UI Scaling sets egui's zoom factor, and the
canvas mapped one document point to one of the interface's points at
100%. A document point then covered UI Scaling times as many device pixels,
so the art grew and shrank with the interface.
The canvas now maps the document at the view's zoom divided by the UI
zoom (View::screen_zoom, Xf::at). The rendered frame, the pointer, rulers,
grids, Fit and Actual Size, pan, scroll, zoom and turn about a point, the
Zoom tool's marquee, Pixel Preview's check, tiled panes, the Navigator's
view box and the tools' tolerances use that mapping. The zoom value means
the same at every UI Scaling, and the interface still follows UI Scaling.
fit_zoom, zoom_about, rotate_about, pan_pixels and scroll_by take the UI
zoom, and Xf::new is now test-only.
Found while looking into a report by bortek about the art's size at 100%.
dotCooCoo