craft-svg builds against an older vectorcraft-geom and vectorcraft-pathops by git, so the
graph holds two packages of each name and `cargo check -p vectorcraft-geom` is ambiguous.
The wasm step now passes each workspace crate's package id.
A path's guide lengths matched the brush's within 0.001, so on very short art guides at 30% and 35% of the art matched. The guides now also match as fractions of the art's length.
PDF export writes a translucent knockout group as a form with its opacity around the /K group. PDF import now reads that pair back as one knockout group with the opacity, blend mode and isolation, instead of a translucent group holding a knockout group.
A paint write that leaves a series mark's gradient as the graph drew it
now keeps the series' stored gradient and its unit-box flag in two more
cases:
- a mark with no width or no height, such as a column for a value of 0,
where the stored gradient was replaced by the mark's gradient in
document coordinates and no mark took it on the next redraw;
- a gradient kept in document coordinates (a file saved before the unit
box), which a stroke weight written as it was moved to the unit box,
so the next redraw placed it on each mark's own box.
A path's Art brush settings matched the brush's within a small tolerance, and only the brush's were checked. A path with a Spacing of 0.0005, or guides that leave no art between them, opened live with the brush's settings. The path's settings now pass the same checks as the brush's, and such a path keeps its drawn look.
The ranges in the addon.shapes params text are in parentheses, so each
description reads as a params object. The configure description and
docs/mcp.md say that an omitted or null value keeps each shape's setting;
the defaults apply to the drawing commands only.
With nothing selected, the Preferences button was drawn only after
Document Setup, so a bar with 90 to 111 points left showed neither,
although Preferences is 90 points wide and fits. The two buttons now
check the room left for each of them on their own.
The PDF exporter no longer warns about a plain knockout group, so the test's second note now comes from a knockout group whose soft masks would draw a brushed stroke, and the test checks for that note.
A COLRv1 linear or radial gradient whose color line repeats or reflects
made the whole glyph an image. Such a gradient now reads into a vector
gradient with the same spread. The COLR specification repeats the
interval from the first color stop to the last, so one run of the stops
spans the gradient's vector:
https://learn.microsoft.com/en-us/typography/opentype/spec/colr
A repeating or reflecting radial gradient that starts at a circle stays
an image, and so does a repeating or reflecting gradient with a stop
whose palette index is outside the palette. A color line with an extend
value the specification does not define now pads, as the specification
says, instead of making the glyph an image.
With a selection tool in use and no artwork in the document (layers and
guides only), the bar shows Draw (Pencil), which switches to the Pencil
tool, and Place Image, which picks files for the Place dialog, as the
help page lists for a new document:
https://helpx.adobe.com/illustrator/desktop/get-started/learn-the-basics/contextual-task-bar-overview.html
VectorCraft's own rules: the bar sits under the active artboard, or
under the canvas's center when the artboard is out of view, and leaves
out the Fill, Stroke, Recolor Artwork and Lock controls. Other tools, a
selection and a document with artwork keep their bars as before.
When the Opacity link and its field had no room, the Control bar also
skipped the Graphic Style check, so the narrower Style link and its chip
were left out even when they fit. The bar now leaves out only the
Opacity part and checks the room for Style on its own.
A required index given as something other than a whole number of 0 or
more, such as "3", 2.5, -1 or true, was reported as missing: `anchor` of
path.setHandle, path.moveAnchor and text.setPathHandle, `segment` of
path.insertAnchor, and `to` of artboard.reorder, library.moveGroup and
graphicStyle.move. Each now refuses it with "`anchor` must be a whole
number", naming the key; left out or null, it is still missing.
An optional `subpath` of path.appendAnchor, path.close and path.reverse
given that way was read as left out, so the command extended, closed or
reversed the default subpath (path.reverse reversed every subpath). The
`artboard` of the ruler origin commands answered "index out of range"
for such a value and for null. Both now refuse such a value with the
same message and change nothing. A null `artboard` is artboard 0, as one
left out is; a whole number past the artboards is still out of range.
Dragging out a dimension from a segment (Linear) or a corner (Angular)
drew its first preview frame at the wrong distance. The preview placed
the dimension at the pointer before reading the segment's end points or
the corner from the art, and measured the offset from the placeholder
points the dimension starts with. A drag from the top edge of a
rectangle to 40 pt above it showed an offset of 60 instead of -40.
The preview now clears the offset, reads the art's points, places the
dimension at the pointer and checks the result. Clearing the offset
keeps an out-of-range offset from the last pointer position from
failing the read.
Tests: the segment and corner drag-out tests fail without the change.
placement_recovers_after_a_position_out_of_range also passes on main;
it fails when only the offset clear is removed.
warichu_is_a_character_attribute_set_saved_and_exported looked for Tj or
TJ anywhere in the exported PDF. The file ID in the trailer and the XMP is
a base64 hash that changes each second and now and then spells one of
them, so the test failed on main twice (bf3cf422e, 446bf59bc) while
export outlines warichu type every time. It now counts text-object lines
only, as the colour font PDF test already does.
With something selected, the Fill and Stroke, Opacity, Graphic Style and
Character controls now show only while the Transform link and the
separator ahead of it still have room after them, the way the Paragraph,
vertical alignment and Align groups keep the link's room. A narrow bar
leaves those controls out first and keeps the link, instead of leaving
out the link.
- The Character controls show whole or not at all. While they are left
out, the Paragraph, vertical alignment and Align controls after them
are left out too, so a wider bar never drops a group that a narrower
one showed.
- The room checks for the width profile, Recolor Artwork and Global Edit
Options count the spacing after each control.
Tests: the_control_bar_s_controls_stay_inside_the_bar_in_a_narrow_window
now also checks selected type.
49 status and error messages in the Hindi, Bulgarian, Danish,
Indonesian, Dutch, Brazilian Portuguese, Swedish and Turkish catalogs
translated the field names in brackets, such as `[subpath, anchor]` or
`[start, end]`, which the parameter documentation spells in English, or
the values an `unknown` or `bad model` message lists, such as
`(points, lines)` or `(left|right|top|bottom)`. Commands match those
values against the English words, so a user who passed the translated
value got the same error again. These rows now keep the English names
and values and translate the rest of the sentence.
A new test, translated_messages_keep_the_field_names_and_values_their_english_lists,
checks every catalog for bracketed field lists, `a|b|c` value lists and
the values listed in parentheses after `unknown` and `bad model`.
Changing Preferences › Hyphenation › Exceptions bumped each open
document's revision, but the caches of laid-out type outside the text
crate were keyed on the font generation alone. The renderer kept the
glyph geometry, raster-effect pixels, live-effect and envelope art,
pattern tiles and placed symbol art of unchanged type objects, so
hyphenated area type kept its old line breaks on the canvas. The
hit-test art of blends and envelopes, the Fit to Artwork Bounds answer,
the layout caches of the Type and Touch Type tools and the out port's
overflow mark were keyed the same way.
vectorcraft_text::layout_inputs() returns a number that changes with
the fonts and with the hyphenation exceptions. Every one of those
caches now keys on it instead of FontDb::generation(), and envelope ink
uses it in place of the private envelope_ink_inputs(). The hit-test key
hashes it together with the plug-in revision.
Tests: a renderer that drew hyphenated area type, alone, with a drop
shadow, in a group with a Transform effect, in a symbol instance and in
an envelope, draws it as a new renderer does after the exceptions
change; the out port of selected area type shows the overflow that the
new exceptions cause. The render test helpers that run a step again
when the fonts change during it now also run it again when the
exceptions change.
A linked image whose appearance is one Warp effect, with no opacity mask,
was saved to the .ai editing data as its drawn art, so its live Warp was
lost. It is now written with an art style of that Warp, as an embedded
image is: its bent pieces are its drawn look, and the image itself
follows on %_ lines as a placed file with its path, its folder relative
to the document's and its preview. In an opacity mask's art the copy is
embedded, with the existing warning for linked images in masks.
Opening such a file reads the image back linked, with its Warp live.
A hidden image with a Warp, embedded or linked, is now compared with its
drawn look shown, so it keeps its Warp too; before, the look drew
nothing and the image came in as its drawn pieces.
The Parametric Shape tool's center and the Slice tool's corners snapped
with Smart Guides to the bounds of the art only, so View › Snap to Glyph
had no effect on them, and neither did the anchors and segments of
paths that the other drawing tools snap to. The point dragged out from a
Parametric Shape's center did not snap at all, and neither tool showed
Smart Guides while hovering before a press.
Both tools now snap through the drawing tools' shared snapping
(DrawSnap). A Parametric Shape's center (from a drag or a double-click),
the point dragged out from it, and a slice's corners land on glyph
guides and on path anchors and segments. The guides show while hovering
and during the drag. When a ruler guide then takes a slice corner, the
Smart Guides are no longer shown. A click with the Parametric Shape tool
still draws nothing when its center snaps a few pixels from the pointer.
Docs: docs/mcp.md, docs/target-app-parity.md.
After Restore in the dialog Data Recovery shows at launch, the status
bar wrote the restore count over the line about the restored document's
linked files, and the warnings each copy restored with were never shown.
The status bar now shows the count followed by the first of the
restored documents' notes: each document's lines about its linked
files, then its warnings, what reading the copy left out first, named
with the document's title when more than one was restored. Hovering
the message lists them all. The count is the number of documents
restored.
The questions about each restored document's missing or modified
linked files now come one document at a time, with that document made
the current one, so a later document's question no longer replaces an
earlier one's. When a copy can't be restored, the status bar shows the
error and its hover keeps the count and the restored documents' notes.
egui places an Area by the size it had the frame before. When a family
name measured late (a face added for its script, a font found in the
background) widened the menu on the helper's last frame, that frame drew
it where the narrower menu fit, and a_menu_wider_than_its_field_stays_in_the_window
saw it 0.7 pt past the window's edge (three failed CI runs on 2026-11-13).
The helper now draws until the menu stops moving.
docs/mcp.md's line and stack row said $.stack shows at most 64 lines
and uses [global] only for the script's own code. It keeps the
innermost 64 frames after a leading line "…" when some are left out,
and [global] names any code outside a function, including code that
an included file, $.evalFile or eval runs. The row now also says how
a frame's file compares with $.fileName in each case: the same file
for code from a file, the run's name where $.fileName is empty for a
script given as source, [eval] where $.fileName is the file being run,
and [unknown] at line 0 where $.fileName is empty.
The engineName row now gives the #targetengine name, and the
script.run params text, the script module doc and the Scripts evidence
line say $.fileName is the file of the code that reads it rather than
the file being run.
Export 3D Object built every Extrude & Bevel (both kinds) and Inflate
solid twice: once for the facets that decide whether the art draws it and
count toward the object's face limit, and again for its mesh.
The solid builder now keeps the projected facets and the faces before
projection from one pass (`extrude_meshed`, `inflate_meshed`), and the
export decides and meshes each part from that one build. Where a mesh
built alone cuts Inflate's twisted sides differently (it has less room
left after keeping the faces turned away), the mesh's sides are cut with
its own room. Strokes past their limits are still left out, a fill's
error and the object's face limit still stop the export at the same
part, and the triangle budget is unchanged.
Tests compare the facets and meshes with separately built ones bit for
bit, and count one build per solid.
ruchirguitar