The legend measured each label with System Layout off, while the graph
draws the labels with the document's setting. With System Layout on,
a long legend label could run over the next swatch in Legend Across
Top. The legend now measures labels with the same setting.
Paragraph settings given to all of a graph label's text with
text.setFormat (indents, spacing, hyphenation, Justification options,
composer, direction, kashida, kinsoku, mojikumi, burasagari and the
rest) and the label's anti-aliasing method were lost when the graph
drew its labels again, because the graph kept only a character style
for each kind of label. Each kind now also keeps its paragraph settings
and anti-aliasing method, saved with the graph in its label styles, and
the graph still sets each label's alignment for its place.
The legend spaces its entries by the kept legend settings: Legend
Across Top measures each label with its indents and spacing, both
legend layouts make room for extra leading or paragraph spacing, and a
label with a negative indent or negative space before moves right or
down so it stays clear of its swatch and of the entry above it.
With Distort Appearance, the stroked candidate for type in an envelope
mapped from the type's bounds with strokes, which for a stroke on the
type's appearance (or on a group round it) reach as far as a miter join
may at a corner, the miter limit times half the weight. In users' files
the drawn art maps from the glyphs grown by what the strokes paint along
a side: half the weight of a centred stroke. The candidate now uses that
box. Character strokes keep the measure the type's bounds with strokes
already give them (they have no miter allowance), and other objects in
the contents keep their bounds with strokes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Merges of main kept both sides of conflicting edits to the milestone
table, so M3, M7, M10, M11 and M13 appeared two to four times, each
copy with a different subset of later edits. Keep one row per
milestone. For M3, M10, M11 and M13 the kept row already contains every
statement in the removed copies. For M7 no copy held them all: the kept
row gains the Hyphenation and Justification clause that only the
second copy carried.
The two Tint fields in the Character Color section were both named
"Tint", so a screen reader gave no way to tell the Fill field from the
Stroke one. They are now named "Fill Tint" and "Stroke Tint"; the
visible caption stays "Tint". The names have rows in every catalog, and
a test checks both names in Character Style Options and New Character
Style.
On a vertical path, an upright glyph is now placed in its column as
vertical point type places it, then the column is centered on the path.
- Its cell starts at its place on the path; it started 0.12 em earlier
with fonts whose cell top is less than a full cell above the baseline.
- A baseline shift moves it across the column instead of along the path.
- A horizontal scale widens it evenly about the column's center.
- A combining mark stays on its upright letter.
- The caret and the selection highlight span the column, half its em on
each side of the path, instead of the font's ascent and descent.
With Skew, 3D Ribbon and Stair Step on a path that runs to the left,
letters are a quarter turn counterclockwise from upright glyphs: Skew and
3D Ribbon mirror both kinds there, and Stair Step keeps letters level. The
test, the progress doc and the params text of Tate-chu-yoko Settings now
state these conditions and the block's directions on a path.
Before writing a PDF preset, ICC profile, plug-in, Color Settings,
disabled list or grants file, the store compared the new bytes with the
file already there by reading the whole file into memory, so a large file
left in the folder was read in full. The comparison now reads at most one
byte more than the new content.
Before a script runs, `script.run` reads its preprocessor lines (`#` or
`//@` at the start of a line, outside strings and comments):
- `#include` and `//@include` put another file's text in place of the
line, looked for beside the including file, then in each
`#includepath` folder, then in each `JSINCLUDE` folder. A later
`#includepath` replaces the list.
- `#script` names the run unless `name` is given; `#target` takes any
value; `#strict off` is taken. `#strict on`, `#targetengine` and
`#engine` are refused as unsupported, and any other `#name` as
unknown.
`$.evalFile(path, timeout?)` runs a file in the same global environment
and returns its last value, `$.fileName` is the file being run and
`$.includePath` the include folders.
A script run from a file reads these files only in its folder and the
folders below it. Paths with a `..` name, links or junctions that lead
out, device names, streams and network paths are refused; a script
given as text reads none. A run reads at most 64 files 16 levels deep,
32 MiB of source in all and 1,024 paths looked up. An error in an
included or evaluated file is reported at that file's line and column,
and the report's new `file` field names it.
Docs: docs/mcp.md (script.run, Script Console), docs/target-app-parity.md.
Raster renders, ink renders, thumbnails and node renders now lend the
document's composite fonts to the font database while they draw, as the
PDF, SVG and EPS writers already do. A document that is not in front, a
document read from a file (library thumbnails, save previews) and a
placed document's art drew such type in the fallback font or in another
definition of that name.
When the pass that reads the document and the saved PDF preference
together failed with a data error, open read the whole document a second
time without the preference. A document past a read budget, or with any
other data error, was then read up to the budget again before it was
refused. Open now reads it again only when the first pass stopped at a
pdfCompatible that is not a boolean, which it tells by reading the
preference alone over the bytes up to the first pass's error position.
Follows #5557. Letters and digits lying on their side in vertical type on
a path kept their top toward the path's end, opposite the upright glyphs.
They are now set as horizontal type on the path sets them: baseline along
the path, top to the path's left, a quarter turn clockwise from upright
glyphs (CSS Writing Modes 3, Unicode UAX #50).
- The column is centered on the path: upright glyphs, letters on their
side and tate-chu-yoko blocks have their em box centers on the path
line instead of a column one em wide to the path's right.
- Upright glyphs are turned in the path effect's glyph space, so with
Skew on a curve their top runs back along the tangent and their x axis
stays up the page, as letters keep theirs.
- Tate-chu-yoko blocks on a path stand upright, stay whole on a curve and
move by Tate-chu-yoko Settings toward the path's start and left.
- A tate-chu-yoko block of mixed sizes sets every glyph in its first
character's em, on a path and off it.
Existing vertical type on a path redraws with these placements.
render_node_with and render_node_thumbnail_with ignored RenderOptions::supersample
and RenderOptions::precise, so the Asset Export tiles, which ask for both, were drawn
with the canvas's shape-by-shape edges and the fast render mode instead of the export's
look. A node render now supersamples Art Optimized edges as a page render does, and
picks the quality render mode when precise is set, for the art's offscreen groups too.
A linear dimension clicked from an anchor to a point that is not an
anchor (a point on a segment, or a point a Smart Guide gave) followed
the art at the anchor end only, so scaling the art turned it into a
long slanted dimension.
- A point on a segment is stored by its curve parameter on that
segment, and stays on it when the segment's anchors or handles are
edited.
- Any other point is stored against anchors (and, for a path whose
anchors lie on one line, handles) of the path under it, or of the
path at the other end, and moves, scales, turns and reflects with
that path. Beside a path whose anchors and handles all lie on one
line, such as a straight line, it keeps its distance along and
across the path: a reflection moves it as a half turn does, and a
scale that is not uniform moves it as a uniform scale does.
- When linked art is reflected, a linear dimension's line goes to the
reflected side, except for art whose anchors and handles lie on one
line.
- Deleting the art, changing its anchor count or whether it is closed,
turning an angle's arm into a curve, or making a measured circle or
arc no longer circular leaves the dimension where it was, no longer
linked, instead of removing it. Undo links it again.
Docs: docs/dimensions.md, docs/target-app-parity.md.
Break Link to Symbol on a selected group selected the art of every
instance it expanded that was itself shown and unlocked, including art in
a hidden or locked group inside the selection. The art now goes into the
selection only when it and every group and layer holding it are shown and
unlocked, the check Select All uses (select::is_selectable).
The text fields and menus of the Basic Character Formats, Advanced
Character Formats, Character Color and OpenType Features sections, and
the Style Name field of Character Style Options, are now named by the
label beside them, so screen readers announce them. This covers both
Character Style Options and New Character Style, which share the
sections. The New Character Style UI test runs with the accessibility
check on again, and a new test opens every section of both dialogs and
checks that no input is unnamed.
A PDF, an EPS or .ai without ruler units, a raster image, a metafile, an
Affinity file or an importer plug-in's document opened (and reverted) in
points whatever the General unit was. They now open in the General unit,
as the reference app opens files that record no unit. Native, SVG and DXF
files and a .ai or EPS with %AI5_RulerUnits keep their own units. Only the
displayed units change, not the art.
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 click with the Reshape tool on an anchor of a selected path makes it
the focal point, and a click on a segment adds an anchor there that
becomes the focal point. Shift-click adds an anchor or a point on a
segment to the focal points, or removes an anchor that is one already.
Each focal point shows a filled anchor square in a larger hollow one.
A drag from a focal point moves all of them; a drag from another point
moves that point alone, and Shift only keeps the drag's angle.
path.reshape takes the other focal points as focal: [[subpath,
anchor]...]. Anchors that are not direct-selected stay in place, and so
do the ends of an open path unless they are focal points. A selected
anchor between two focal points moves by the whole drag, and one
between a focal point and an anchor that stays takes u² (3 - 2u) of
the drag, as before. A closed subpath with every anchor selected moves
whole: a Reshape drag on a fully selected closed path, and path.reshape
without radius on a closed path selected whole or not selected, move
the whole path instead of a local area. With radius, only the grabbed
point's subpath changes, with the falloff as before.
- An anchor added on a segment of a partly selected path is selected,
and the selected anchors and segments after it keep their points.
- A focal pair that names no anchor is refused ("`focal` names [0, 7],
which is not an anchor of the path"), and so is focal with radius.
Docs: docs/mcp.md, docs/target-app-parity.md.
Found while testing crates/engine/src/cmd/graph/data.rs:51 (parse_csv); written by crates/doc/src/graph.rs:497 (GraphSpec::to_csv)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Break Link to Symbol on a selected group, and Delete Symbol with its
instances expanded, turned a hidden or locked instance into visible,
unlocked art. The art now keeps the instance's hidden and locked state,
as Object > Expand does, and Break Link leaves hidden or locked art out of
the selection.
Opening a native file read its JSON twice: once for the document and once
more for the saved pdfCompatible preference. The format crate now takes
the preference from craft-vectorcraft-format's
Contents::read_with_pdf_preference (craft-libs#562), so a file is read in
one pass.
That method refuses a pdfCompatible that is not a boolean, which main
opens by skipping the value and falling back to whether the file carries
a PDF. Such a file, or one with any other data error, is read again with
Contents::read and scanned for the preference as before, so the files
that open today still open with the same result.
The craft-vectorcraft-format pin moves to 1b34eba41e, the craft-libs
revision craft-update already uses.
dotCooCoo