Create Gradient Mesh, a Mesh tool click and Object > Expand of a gradient
to a mesh gave each border edge one cubic fitted between two mesh points
and picked the corners from the bounding box, so the border cut off
corners and curves: 49 pt off a five-point star, 54 pt off a notch.
- The border follows the outline of the largest subpath by length; border
points sit on it and an edge with no anchor inside is the exact piece
of its segment.
- Where no single cubic follows a run within 0.1 pt (a thousandth of the
size on a small outline), a mesh line goes through an anchor, the
sharpest corner first; at most 256 lines each way. Rectangles and
ellipses keep the rows and columns asked for.
- Smooth runs keep their end tangents; border handles are no longer made
collinear.
- To Center and To Edge highlight placement accounts for the extra lines
(for_path_shaded, also used for gradient fills).
- Non-finite points give no mesh; a degenerate outline keeps the old
bounding-box mesh.
Holes of a compound path are still left out, as before.
Docs: docs/target-app-parity.md.
Inflate's grid clipped every ring of the outline in each cell the
outline crosses and tested every edge for each cell's center, so its
work grew with the outline's points times the cells: a comb of 4,000
teeth (16,002 points) took 1.1 to 1.3 s and one of 16,000 teeth 8.8 to
9.1 s. Inflate now counts that work (the edge index's entries, the edges
its queries look at and the ring points its cells clip) and refuses the
shape with "The 3D surface is too complex; simplify the shape" once it
passes 268,435,456, VectorCraft's own value (about 0.65 s). The index
takes at most 16,777,216 entries (64 MiB). Each row's inside test reads
the sorted crossings of its line, and a cell clips only the rings whose
bounds meet it, so a 65,536-point circle inflates in 0.66 s instead of
1.0 to 1.2 s.
The effects test of a stroke past the limits uses 40,000 corners, so its
outline passes the 65,536 points a solid takes.
Docs: docs/three-d.md, docs/mcp.md.
Each Extrude & Bevel and Inflate solid now takes up to 65,536 outline
points (was 2,048) and 163,840 faces (was 32,768), VectorCraft's own
limits, as Revolve's. Before any point is sampled, the outline's lines
and curves are counted with each curve's tolerance pieces, and the faces
the walls, bevels and caps (Extrude) or the sides (Inflate) need. When
they do not fit, every curve takes fewer pieces, down to 4; a shape that
does not fit at 4 is refused with the existing surface error before any
face is built. The subpath count is capped at the point limit too. The
error texts are unchanged.
A closed path of 2,000 curves now extrudes with a bevel and inflates,
and paths of 5,000 and 10,000 curves build at the default settings.
Docs: docs/three-d.md, docs/mcp.md, docs/target-app-parity.md.
The put-back after a failed page check replaces each live envelope with
its drawn art in one go, which fails as a whole when one envelope lies in
another's art: only the outermost are put back now. A live envelope of
type removes its hidden type only once it has found the drawn art it
replaces. The file format docs lose a revision row left twice by a rebase.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The file-format revision row for #3179 says that the page check weighs
a live envelope of type as the art it draws, that layers used though
they don't draw as the page leave envelopes of type their drawn art,
and that a slot bound to a visibility variable keeps it too, and lists
the new tests. The parity assessment's evidence says the same, and
the change gets its row and status entry there.
Part of #3179.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
An envelope whose contents hold type kept its drawn art, with the type
hidden, because the type is laid out from the text document only after
the layers are read. It now waits for that, as warped type does: once
its text slots hold their type, the envelope is made of that type and
drawn by VectorCraft's own rule, and where it draws as the drawn art the
file saves (the same check and budget as other envelopes) it takes the
drawn art's place, with the type visible and editable in Edit Contents.
The hidden copy of the type goes.
As other live envelopes are, it is held to the page: when the layers
with it don't draw as the page, its drawn art and hidden type are put
back. A .ai whose layers would open alone, without its PDF part, now
waits on the PDF part when an envelope of type is in them; where none
opens live, the layers open alone as before. Layers built without a page
leave envelopes of type their drawn art.
Elsewhere it keeps its drawn art and hidden type, with the note: type in
a font that isn't available, a slot without made type (threaded, bound
to a text variable, a wrap object, type a look draws), an envelope that
doesn't read, no check left, or one that draws differently. Envelopes in
a symbol's or a pattern's art keep their drawn art.
Part of #3179.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Done ran text.spelling.removeWord and text.spelling.addWord one word at a
time, each saving the file, so a save that failed after a delete was saved
left that word deleted even after Cancel. text.spelling.editDictionary
{remove, add} makes every change, saves once and takes all of them back when
the save fails; Done runs it once.
Move a stray table row and the PR #3273/#3272 revision notes into
Feature revisions, keep one "Feature evidence last updated" line, drop the
duplicate Flyout update status line and fold eight reconciliation rows
into one per date. No score or estimate changes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Direct Selection showed and dragged the anchors of type on a path's path
(#3980) but not their direction handles: handle_anchors read only a
path's own data, and the canvas draws only a path's handles.
- text.setPathHandle moves a handle of type on a path's path, in
document space, as path.setHandle moves a path's; the brackets keep
their fractions and the text reflows. One undo step.
- Direct Selection draws the handles of selected type on a path and
drags them with it (Alt: one side, Shift: 45 degree steps).
The custom dictionary's words in a list, with an Entry field and Add, Delete
and Change, applied on Done, as the public Check and correct spelling page
describes it. The menu item moves from the Spelling submenu to the Edit menu,
where the page puts it.
The check that keeps a live envelope or warped type only where it draws
as the art saved with it renders each on its own, over nothing, and
compared the pixels as seen on white. White art over nothing looks like
nothing on white, so white contents that drew somewhere else passed and
opened live in the wrong place.
Pixels now also differ when they look different seen on black, so such
art keeps its saved art, as colored art does. Opaque colored art is
compared as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With the Linear mode, two problems kept a click on an anchor from
taking it:
- A press on an anchor that moved more than 3 pixels before the release
dragged out the dimension of the segment under the pointer and
committed it almost on top of the art. A press on an anchor now picks
it unless the pointer moves past the anchor's 8-pixel reach; a longer
drag still dimensions the segment.
- A pick linked only an anchor of the segment nearest the pointer. An
anchor of another path near that segment, for example one inside a
group lying just inside another object's edge, was taken at most as a
Smart Guides point with no link, so the dimension did not follow it
when the art changed. A pick now links the nearest anchor of any
visible, unlocked path within reach, in groups and compound paths too.
dotCooCoo