The renderer keeps the path of a path or compound path of 1,024 anchors
or more by object id, with the bounds of its segments and of its miter
spikes in runs of 128 segments. When anchors move and the subpaths and
anchor counts stay the same, the next frame rewrites only the path
elements of the segments that start or end at a moved anchor, and
measures again only the runs that hold them and the runs of the
segments with length before them. Other edits make the path again as
before. The pixels and the cull bounds are the same.
- StrokeLayer::bounds_on is unchanged. The miter tip of one joint
(miter_tip) and the stroke box with given tips (bounds_with_tips) are
new functions beside it, and Appearance::stroked_bounds_by takes the
box of each shaped stroke, so the cull bounds of a kept path use the
kept tips.
- geom::bez::has_length is the predicate reach.rs used for segments
that draw, made public.
Docs: docs/target-app-parity.md.
The anchor count that sends a row's thumbnail to the thumbnail thread now
includes the art of opacity masks that are not disabled, since the
thumbnail draws that art. A row drawn before was rendered on the UI thread
whenever its last thumbnail had been quick, even when its object had since
become a long path; it now goes to the thumbnail thread when the object
has more than 2,000 anchors.
The Layers panel chose between the UI thread and the thumbnail thread
for a row's first thumbnail by counting objects only, so one path of
200,000 anchors was rendered on the UI thread. A row whose paths hold
more than 2,000 anchors in all now goes to the thumbnail thread, as a
row of more than 200 objects already did.
While such a row waits, the painted fallback thumbnail draws nothing
for it instead of measuring the path's bounds on every frame.
Opening the panel on one path of 200,000 anchors: the first frame takes
2.4 ms instead of 393 ms (release build, median of three runs).
Choosing a replacement meant picking the family from one drop-down and its style
from another, and only then seeing what the style would be. Replace With Font now
lists rows of a family and one of its styles - the family's closest style first,
then each style it has - and one click sets both. A search above the list filters
the rows by family and style, as the Character panel's font menu searches.
Each list scrolls on its own: the document's fonts and the replacement rows keep
separate scroll states and scrollbars, and the replacement list is ten rows tall
at most, no taller than the rows it lists.
Review: the rows are rebuilt after a replacement, the search clears when the
dialog closes, and a double-click respects the same guard as the Change buttons;
the type-parity checklist has its status line and revision row.
Closes#4972.
The `method` text of `paint.editGradient` and two passages of
docs/mcp.md said a CMYK document writes RGB and Lab gradient stops in
CMYK. An export that converts colors to an RGB destination profile
converts them to that profile first, so in a CMYK document they stay
RGB and a Perceptual spot gradient with such stops is written as an
image with the spot warning. The texts now say so, and the test of RGB
stops in a CMYK document also checks the RGB destination case.
A dashed stroke of a path with more than 1,024 path elements was outlined
whole in every frame after an edit. It is now outlined in and around the
view like a solid stroke. dash_kept runs the pattern along every segment
and keeps only the dashes and dots on the segments near the view, so they
sit where dashing the whole path puts them and the pixels are the same.
A pattern too fine to draw is still drawn solid, and that solid stroke is
cropped too.
At 1600 x 1200 the frame after one anchor moves takes 14 ms instead of
102 ms on a filled closed path of 50,000 anchors with 6 pt dashes and
4 pt gaps. anchor_bench now includes that document.
Optical moved every pair all the way to a fixed 0.08 em ink gap, tighter
than most text faces' own stem spacing, so ordinary text was squeezed
(at 100 pt, Source Sans 3 `nn` closed from 54.7 to 46.9 pt).
Each pair now moves 0.6 of the way toward the face's reference gap (the
median ink gap of `nn`, else `HH` or `oo`; 0.08 em when it has none),
keeps at least 0.3 of it at its narrowest, and changes by at most
0.12 em tighter or 0.06 em looser. Ideographs, kana, hangul, fullwidth
and CJK punctuation forms and dashes keep the font's spacing.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Data Recovery lists the folders in its recovery folder before it starts, so a
folder that can be written but not listed (a Unix folder with mode 0333) left
it unable to start. Choose... now lists the picked folder as well as making a
folder in it, and refuses it with a status message when either fails. The
progress line says what is checked.
File Handling > Data Recovery > Folder has a Choose... button on the
desktop that opens the folder picker and puts the chosen folder in the
field. Cancel leaves the field as it was, and the field stays editable.
A chosen folder that no file can be created in is refused with a status
message. The web build has no folder picker, so the button is not shown
there.
The method help of paint.editGradient and docs/mcp.md said a Perceptual
gradient with spot stops becomes an image in PDF unless every other stop
is paper white, CMYK or gray. PDF export checks each stop's color as it is
written: a CMYK document, or an export that converts colors to a CMYK
destination profile, writes RGB and Lab stops in CMYK, so the gradient
becomes a DeviceN shading. Both texts now say so, and a test covers the
CMYK document and CMYK destination cases.
A compound path a filter made a guide was still given to later filters, which
could change or delete it; compound paths of guide paths are now left out as
guide paths are. Hex colors and the color button's choice are display sRGB and
are now converted into the working RGB space, so they show as given whatever
the working profile; a color default is kept as written and read when used.
Follow-up to #5630.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Follows #5442.
- text.setGlyphAlternate keeps the default glyph as a choice when a
feature of the character's style (salt, a stylistic set) draws another
glyph for it, so the default glyph is drawn. A character that is not
laid out (overflowing text) is shaped alone in its style to decide.
gid: null reports the glyph the style draws.
- The Glyphs panel's alternates grid shows the default glyph first when
the font does not list it, so a chosen alternate can be put back.
- A test for a chosen character that starts a longer grapheme (f with a
combining acute), which is not split from its mark.
- The alternates tests in the engine hold the shared font lock while
they add fonts to the global font database.
The bar decided to show the inline fields against a fixed 440-point
width, smaller than the room the fields take, so just above that width
the H field ran past the bar's right margin and was clipped. The bar
now adds up the room from the values that draw the fields: the label
widths in the current language, the four 80-point fields, the W/H link
and the item spacing ahead of each. With less room it shows the
Transform link alone, as before.
Space pressed after a tool's press has begun (Pencil, a brush, a shape, a
selection drag) switched the cursor to the hand but panned nothing: the pan
starts only with Space down at the press. It is ignored now, so the cursor keeps
the tool's own.
Test: space_during_a_pencil_drag_keeps_the_pencil_cursor (fails without the fix:
Grab instead of the pencil's crosshair).
The type.size.* commands, type.resetTracking and type.resetHorizontalScale
do not take `id`, `start` or `end`, so they refuse those keys as unknown
parameters. The list in docs/mcp.md now leaves them out.
A double-click makes the row's artboard active and fits it in the
window (view.goToArtboard, as the Artboards panel does), keeping the
dialog open and the artboards chosen before it. Parity docs record the
Selection Tools add-on.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
addon.select.byArtboards {artboards, relation} in a new Selection Tools
add-on. Overlapping is All on Active Artboard's test, now one shared
helper (select::on_artboard); Fully inside is within one artboard, edges
included; Fully outside is on none. Objects are those Select All takes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
PathData::nearest, which the Direct Selection cursor runs to find the
segment under the pointer, projected the pointer onto every segment of
the path.
It now projects the pointer first onto a segment at the anchor nearest
to it, then skips each segment whose control-point box lies farther
away than that distance or the nearest point found so far. Each box is
measured once and the search allocates no memory. The result is the
same, including which of equal distances wins. A segment is never
skipped when the pointer or one of its control points is past 1e100 or
not finite.
Over a segment of an open path of 200,000 anchors, the cursor takes
51 ms instead of 59 ms in a release build (anchor_bench). The progress
line in docs/target-app-parity.md gives the timing.
Tests compare nearest with every segment projected over 400 random
paths, each probed at 30 points on a coarse grid (ties included), and
on open, closed, compound, one-anchor, empty, huge and non-finite
paths.
OK in Tate-chu-yoko Settings read an Up/Down or Left/Right that is not a
length as 0 and applied it. It now returns "Up/Down must be a number" or
"Left/Right must be a number" and keeps the dialog open, and a blank
field leaves its value alone.
The editing copy of the art that a PDF-compatible .ai carries now holds:
- Transparency: `mode opacity isolate knockout shape Xy` (the blending
mode's number, Knockout Group 0 off, 1 on, 2 neutral), written when it
changes: in a path's paint after its colors, before a guide, and after
a group's end followed by `0 0 Xd` and `6 () XW`. A group without
transparency of its own ends `9 () XW`, and a group's name comes
before its state block. A layer's transparency follows its art: `Xy`,
`0 0 Xd`, `7 () XW`, `LB`.
- Clipping groups as `q`, the art, the clipping path or compound path last
with `h` (or `H`) and `W` before its painting operator, `Q`, as section
5.6.2 of the version 7 specification shows them
(http://mercator.elte.hu/~saman/hu/okt/AI7FileFormat.pdf). A clipping
layer whose clipping object is a path or compound path sets the last
`Lb` flag and writes its clipping path last.
- Opacity masks as an `AI9_Mask` entry in the object's dictionary: the
mask's art between `X=` and `X+`, and Clipping, Inverted, Disabled and
Linked.
Before, clipping groups were written as their art cut to the clipping
path, and transparency and opacity masks were left out. Still left out,
with a warning: the opacity and blending mode of single fills and
strokes, opacity masks on layers (disabled ones too), and opacity masks
nested more than 8 deep. A clipping group or layer whose clipping object
isn't a path or compound path is written as a group of the art cut to
that object, in a layer that doesn't clip, and so are the clipping
groups inside that art. A clipping path's paint that a plain fill and
line can't draw is written as paths inside the clipping, fills under the
art and strokes over it, each side in a group of its own when it has
several, with the clipping path's transparency, lock and hidden state;
the clipping path's opacity mask stays on the clipping path, with a
warning. A clipping group without members is an empty group, and an
empty clipping layer is an empty layer.
Each of these is written in the form VectorCraft's .ai reader reads, and
the tests read the written data back through that reader.
Reading .ai editing data: an `Xy` after a layer's last group or compound
path, followed by the layer's `7 () XW`, is the layer's (a following
`6 () XW` keeps it the group's); groups, compound paths and layers keep
Opacity & Mask Define Knockout Shape.
The `.ai` option `editingData` and docs/file-format-parity.md describe
what the copy now holds.
A `color` parameter shows a color button that opens the color picker in plug-in
dialogs and the Appearance panel's effect editor; its default and values may be
a color object or a hex string, and the plug-in gets a color object. A filter's
returned objects may set `guide` and `locked`; objects it locked or made guides
are left out of the selection after the run.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Select > Object > All on Same Layers took the layer of every selected
object, including one that select.set had kept while it is hidden or
locked, on a template layer, on a locked artboard, or outside the
isolated group. That object's layer then decided which art was
selected. The command now takes the layers only of the selected
objects that the Select commands could select. When the selection
holds no such object, it clears the selection.
The CJK table had an older manual tate-chu-yoko row that still said the
Up/Down and Left/Right settings remain, next to the current row that
lists Tate-chu-yoko Settings as done. The ruby row also said manual
tate-chu-yoko is missing, and a separate row marked ruby as missing.
Remove the older tate-chu-yoko row and the "ruby missing" row, and
leave the ruby row about ruby only.
File > Export > Export As PNG... opened PNG Options with no artboard
chosen, and a single-image export without one writes the first
artboard, whichever was in use. With no artboard choice given, it now
takes the active artboard, or each artboard the Artboard tool has
selected (one file each). A choice the caller gives is kept.
The PDF writer writes a spot gradient as a Separation or DeviceN shading
only when it is linear or radial; freeform gradients and dithered fills
are written as images in process colors.
- `paint.editGradient`'s method help and the Method paragraph in
docs/mcp.md limit the Perceptual exception to linear and radial
gradients.
- The Linked gradient stops paragraph in docs/mcp.md no longer says the
writer has no DeviceN: a gradient mixing spot inks with other spot,
CMYK or gray inks exports as a DeviceN shading, and only a mix with RGB
or Lab colors is written in process colors, with a warning.
Mixed in display RGB, red and blue darken past blue's lightness and come
back. The weight search for a Perceptual DeviceN shading then found a
red-side weight for stops near the blue stop, and the inks jumped there.
When the display RGB mix's lightness turns back between two stops, the
inks are mixed at each stop's mix position instead.
Choosing units in Preset Details restyled every preset card in the Recent
and Saved tabs, so switching between inches and millimetres rewrote all the
user's templates at once. The pane's options apply to the selected preset
(helpx, "Create and save custom document presets"), so only the chosen card
follows the chosen units now; the others keep the units their document or
preset was made in, and clicking one brings its units back. The built-in
category tabs still show the chosen units (#2078).
Generated with [Devin](https://devin.ai)
Co-Authored-By: Devin <158243242+devin-ai-integration[bot]@users.noreply.github.com>
The menu bar builds Type > Font in every frame, the first included, and
its family list waited for the scan of every installed font. When that
scan took longer than the 20 s first-frame watchdog (thousands of fonts
on a slow disk, or each file checked by antivirus), the app took the
graphics adapter for hung and started again without it, until none was
left and no window ever showed.
The menu now lists the fonts already loaded until the scan ends, then
all of them (FontDb::menu_family_list_now, installed_fonts_ready).
text.tabs.set and text.tabs.clear return without an edit when every
targeted paragraph already holds the stops. A Ctrl-drag that the 0 pt
bound keeps from moving, or a drag released where it started, no longer
adds an undo step that changes nothing. When one targeted paragraph
holds other stops, the command still sets them all.
OK in Shape Builder Tool Options sent highlightColor to tool.setOption,
which keeps only #rrggbb, so #ff000080 was applied as #ff0000 with no
error. OK now gives the same error as the Live Paint tool options for a
hex color with an alpha part (#rrggbbaa or #rgba), the dialog stays open
and the tool's options do not change. The tool.options params text,
docs/mcp.md and the progress doc say so.
Step by Step and Pause For remember the document that was active after each step. When the next step is due and a different document is active (another one was made active, or that one was closed), the playback ends with a status and the rest of the steps do not run. A step that makes another document active itself does not end the playback.
Step by Step holds the frame after Play, so the first step's result is drawn before the
second step runs, also when the panel's Play button runs after the canvas drew.
An action step recorded as command.batch (an action played while recording, including one
playing at Step by Step or Pause For, or a panel operation that runs as one batch) now plays
as its own steps in Play and Batch..., instead of failing with "batches cannot nest".
The Actions panel menu's Playback Options... sets how actions play (ui.action.playbackOptions {speed?, seconds?}). Accelerated, the default, plays every step at once as one undo step, as before. Step by Step plays one step per frame so the canvas draws each step's result, and Pause For waits 1 to 60 seconds between steps; each paced step is its own undo step. Stop Playing/Recording ends a paced playback, and another action does not play while one is paced. The setting is kept with the UI preferences. Batch... plays at full speed.
Batch Trace Folder replaces a script, so it is now a Document Tools
add-on command, addon.document.batchTraceFolder, under Object ›
Plug-ins › Document Tools (as Export All Open Documents is), and no
longer in Object › Image Trace. Behaviour, caps and the refusal of a
folder too big to list in full are unchanged; the tests move with it.
The status messages have @msgplural rows in every catalog, as does the
menu label. When some images trace and some don't, the status is one
counted message ("Traced {n} images; not traced: {failed}") so it
translates as a whole.
list_dir cuts its listing before sorting, so a cut listing could skip any image. The batch now
stops with an error instead of tracing part of the folder.
imageTrace.batchFolder opens each image in a folder, traces it with a
preset (optionally expanded), saves it into a destination folder under
its own name (vectorcraft, svg, pdf, ai or eps; taken names numbered so
nothing is replaced) and closes it again whether it traced or not; the
active document stays active. Object > Image Trace > Batch Trace Folder
asks for both folders. Not on the web.
A Copy of ruler guides alone left the system clipboard as it was, so the
next Paste took whatever another app had copied before instead of the
guides. The guides-only Copy now empties the system clipboard (on the
web, empty text through egui with Copy As SVG on), as any Copy replaces
what the clipboard held, and drops an earlier Copy's formats not written
yet. What another app copies afterwards still pastes.
Edit > Copy and Cut put the selected ruler guides on the clipboard,
with the selected objects or on their own. Pasting puts them on the
layer new art goes to, selected, in the same undo step: with objects
they move as the objects do; alone they keep their places, while Paste
in Place / in Front / in Back put them on the active artboard as they
lay on theirs, and Paste on All Artboards on every artboard.
text.areaOptions given for several area type frames (ids, or a selection of
several) copied the first frame's options onto all of them, so setting one
option (say the vertical alignment) also replaced the others' columns, gutter,
inset and fit. Each frame now takes only the options given over its own, and
fit resolves against each frame's own setting, so fitMinPercent alone changes
only frames that already shrink text to fit. Options that change nothing add
no undo step and keep redo.
A PDF-compatible .ai (or a PDF saved with the editing data) now opens
from its layers without its PDF part being imported, and without being
compared with its page, when:
- its text document makes the type of every text object, hidden ones
included, at least one text object shows, and none is drawn by the
appearance of the layer or group it is in;
- its layers hold no unread object, no placed file with a second
placement and no live envelope with drawn art to fall back on, and
no image too large to read;
- it declares no large canvas, and its artboards are its pages' trim
boxes one for one, in points or in the first page's UserUnit.
A file whose layers draw differently from its page then opens from its
layers instead of its PDF part. The bleed comes from the pages' bleed
boxes. The check runs only when no pages are picked, layers and the
editing data are on, the crop box is asked for and type comes in as
text. Files saved without PDF compatibility, files whose PDF part
draws only type or nothing, and files whose PDF part's content can't
be read take the same path when they qualify: their bleed comes from
the pages' bleed boxes, pages in units larger than a point draw them
at their size in points, and the note that the PDF part couldn't be
read is not given, since its content is not read.
Files that don't qualify open as before, and the editing data decoded
and read for the check is reused after the PDF part is imported
(layered_ai_from).
When a file whose PDF part can't be read is scaled up to its size in
points, its text wraps are now laid out again at that size, and the
default graphic styles of a file without graphic styles of its own are
no longer scaled. The same applies on the new path.
The `method` text of `paint.editGradient` and the Method paragraph in
docs/mcp.md said SVG and PDF exports draw a Perceptual gradient as an
image. PDF writes an eligible one natively: tints of one spot ink as a
Separation shading in that ink, and spot inks mixed with other spot,
CMYK or gray inks as a DeviceN shading. Gradients without spot stops,
with RGB or Lab stops, dithered fills and curves with too many stops
still become images there. Both texts now say so.
PDF export writes a dithered gradient fill with spot stops, and a
Perceptual spot gradient with RGB or Lab stops other than white or more
than 4,096 stops on its curve, as an image in process colors. Add these
cases to the M3 roadmap rows and the color area's remaining work, and
correct the evidence line that said every Perceptual spot gradient
becomes an image.
dotCooCoo