A Transform or Free Distort before a painted effect on a fill or stroke moved the shape but left the placed gradient at its old position, both on pieces that keep the fill or stroke and on the geometry drawn after a refused result. The inherited fill or stroke now takes the same gradient move as the Transform branch.
A module that lists no permissions now removes the grant from grants.json only after it has replaced the stored module. When the write fails, the old module stays stored and keeps the grant it needs at the next launch.
`plugin.install` accepted `grant` and `allowHeavy` from any client, so
the program installing a plug-in could answer its own permission
prompt.
The desktop app now shows an approval dialog that names the module,
its hash and what it asks for. Confirming it gives the engine a
one-use approval tied to that module id, hash and permission list. A
control or MCP request and a frame of synthetic input cannot confirm
the dialog, and Enter does not confirm it.
Without such an approval, `grant` and `allowHeavy` are refused. The
new `--allow-plugin-grants` flag on `mcp` and `run` lets a person who
starts a headless session accept them from requests. The flag cannot
be combined with `--connect`. A module already approved in the desktop
app still installs through its stored grant.
Found while testing crates/engine/src/cmd/patternlib.rs:99 (existing_pattern)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
The artboard and asset file stems came from unique_file_names, which turned
every character except letters, digits, - and _ into a dash, so the dot of
example.artboard became a dash. Export for Screens now uses a variant that keeps
dots (a name of only dots takes the Artboard-N fallback); safe_file_name still
drops trailing periods and guards device names.
Test: an_artboard_name_keeps_its_dots.
With the Rectangle and Ellipse tools, Cmd lends the selection tool chosen
last, and Copy already took the anchors Direct Selection picked. The
Curvature tool, which Cmd lends Direct Selection, copied the whole path
before this PR, as the Pen did.
The remembered selection is now tied to the document it was made in, by its
uid, instead of being cleared on every tool reset: another view of the same
document, or closing an inactive tab, kept the anchors picked but made Copy
take the whole path.
A lent gesture that leaves the selection as it found it (a Cmd+Shift marquee
over nothing) is no longer recorded as a pick, so the Pen's last anchor stays
its own and Copy takes the whole path.
Also records #6123 in target-app-parity.md.
With the Pen or Curvature tool, Copy and Cut ignore the anchor selection,
so that the last anchor the Pen leaves selected doesn't make Copy take just
that anchor (#2122). Anchors picked with the Direct Selection that Cmd/Ctrl
lends those tools were ignored too, and the whole path was copied.
The session now remembers the selection the lent tool leaves when it gives
the tool back. While that is still the selection, Copy and Cut take the
picked anchors and segments, as with Direct Selection chosen.
document.open by path reads the first 64 KiB of a file only an importer
reads to look for a built-in format. A larger file is read to the limit
only when its size is within the limit, so an over-limit file costs no
128 MiB read and a built-in file over the limit is not held in memory
twice.
Installing a module that lists no permissions under a granted id now
forgets the grant, in the process and in grants.json, so the formerly
approved bytes need a new approval. A refused install leaves the grant.
Attaching a plug-in store forgets the grant of an id whose stored module
lists no permissions. A plug-in folder load forgets the process's grant
for such an id and leaves grants.json alone, because the store keeps the
module its grant covers.
Object > Expand of gradient and pattern fills now expands the pieces a
painted live effect draws one by one, so a piece keeps its own paints.
A later painted effect on a fill replaces only the first fill of a piece
and leaves the piece's other fills in place.
Document Info passes the document when it reads an image's painted fills.
The Export for Screens dialog and the Asset Export panel open
remembered settings and presets without the row and settings keys the
export no longer reads, and without settings for a format it doesn't
write, so their export and Save Preset are not refused.
A format row and a format's settings take `params`, an exporter
plug-in's own, and `security.passwordRequired`, which remembered
settings hold where PDF passwords were left out, and `settings` takes an
exporter plug-in's format, as before the key check. assets.export and assets.settings.set check the
rows and settings they are given as document.exportForScreens does.
An unknown top-level key of document.exportForScreens gets the
command's usual "the command takes" error.
The MCP save and Export for Screens calls no longer check the params
themselves: Session::execute checks them before anything runs.
File › Place reads only built-in formats, so a dropped file that only an
importer reads failed with a place error. It now opens as File › Open
opens it, with or without a drop position, also when an exporter lists
the same extension.
swatch.new stored a gradient or pattern as it was given. A gradient
swatch made from a gradient swatch by name, from a fill linked to one,
or from a gradient that names one (the Gradient panel's add to
swatches) kept the link to that swatch, so copying art that uses the
new swatch brought the other swatch along too. A pattern swatch made
from a current fill picked up from art with transformed tiles kept
that transform, and art the swatch was applied to took it in place of
its own.
The new swatch now drops the gradient's link and stores the pattern
untransformed. A gradient swatch keeps its aspect as before.
A gradient placed with the Gradient tool stayed where it was when the
object's Transform or Free Distort effect moved, turned or scaled the
outline, so the shape slid across its own gradient.
The Transform effect now maps placed gradients by its own transform,
and each of its copies takes them as many times as it takes the
transform. Under Free Distort, each path's placed gradients move and
scale from the path's bounds before the effect to its bounds after it.
This change does not alter gradients fitted to the object.
The canvas, Expand Appearance and export, Pathfinder and compound
shapes, groups, a fill's or stroke's own effects, and Object › Expand
of a gradient fill apply the same rule. In a group, the own fills and
strokes of the group, of the groups inside it and of a symbol's art
follow it too, and images and symbol instances that a group's
Transform effect moves take the placed gradients of their own fills
and strokes along. A group whose path keeps its shape because the
effect would pass the geometry budget keeps its own gradients in
place.
This changes how existing documents draw: a gradient placed on a path,
or on an image's or symbol instance's own fill, inside a group with a
Transform effect now moves with it. Before, only the gradients of type
moved (#2214).
How gradients follow each effect is VectorCraft's own rule. The
Distort & Transform help page describes what the effects do to the
object:
https://helpx.adobe.com/illustrator/desktop/manage-objects/reshape-transform-objects/distort-and-transform-effects-in-illustrator.html
A top-object envelope splits its outline into four sides at four corners
and maps the content onto the Coons patch of those sides. The sides
shared out the content by length, and the corners were the anchors or
curve points nearest the bounding box corners.
Each piece of a side between anchors and corners now takes a share of the
content's width or height in proportion to the length of its control
polygon, spread along the piece by its curve parameter. A straight
segment spreads it evenly by length. A rounded rectangle stays close to
the identity, and the content follows the curves of a side whose segments
differ in size.
Each corner is now the nearest anchor to its bounding box corner among
the sharp anchors that point out of the outline and lie within 47.5% of
the box's width and height from that corner. A handle shorter than
0.01 pt, or tangent unit vectors that differ by 0.01 or more in x or y,
makes an anchor sharp, and the first one along the outline wins a tie.
Without such an anchor, the corner is the outline's nearest point to the
box corner, moved onto the end anchor of its segment within 0.5% of the
segment's parameter. Envelopes opened from .ai files keep the corners the
file saves.
These are VectorCraft's own rules. Existing top-object envelopes redraw by
them. Gradient meshes made from a path keep their sides measured by length.
- crates/doc/src/live/mesh.rs: Coons::from_top_object and the corner
search, used for top-object envelopes.
- EnvelopeKind::TopObject gains an optional `corners` field (anchor
indices); the .ai importer fills it from the mesh's corners.
- Params text of object.envelope.makeWithTopObject, docs/mcp.md
(Envelopes) and a progress line in docs/target-app-parity.md.
Covers the other places a Warp now moves placed gradients: a group's
and a nested group's own strokes and a compound path's stroke (with the
stroke-inflated bounds), the art of a symbol instance and the area of a
compound shape with a Warp, and a stroke's own Warp on the canvas. A
new test checks that Arc's no-bend threshold for gradients matches the
one the warp uses, and the no-bend test now covers all fifteen styles.
The render test's Fisheye case, which left the square's bounds as they
were, is replaced by a vertical Bulge, and each style there is checked
to move the outline's left or right edge. The Object > Expand test
checks that it measures the ramp and not an edge of the outline.
The params text and docs/mcp.md now state which bounds each gradient
follows, and that a warp moves them with a bend or a distortion.
The reference check now applies wherever a painted effect's geometry is
used: a result whose swatch or pattern is refused keeps its input instead
of giving its geometry. Pathfinder art of type, reshaped groups, compound
shapes, image fills, the renderer's bounds and Object > Expand look the
references up in the document, and the renderer drops its kept bounds and
geometry when the names of the swatches or patterns change.
- text.spelling.check gives craft-proof one paragraph at a time, as
check_text_with expects: its language detection reads a paragraph, so a
Vietnamese paragraph no longer leaves the English ones after it unchecked,
and the check stops at the paragraph where the 10,000-word list fills up
instead of proofing the rest of the text first.
- Given `ids` are checked in paint order, as the result promises, not in the
order they were passed.
- Docs: English words come from the first dictionary craft-proof finds
(dictionaries folder Hunspell, SCOWL from craft-i18n, system Hunspell),
with the Moby word list as the last fallback, not from Moby alone.
- Doc comments on the command functions and test helpers.
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