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>
Move the unheaded change bullets above the Stage line and the revision
row inside the Headline numbers table into Revision history, each under
the date of the commit that added it. No score or estimate changes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Exports RGB, CMYK and grey JPGs at qualities 100, 80 and 50, at 1x and 2x,
and decodes each one. It also checks that only the CMYK files leave out the
JFIF segment (#3140). Covers #2096 too.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The existing entity tests are unit tests that place the references in
attributes. This adds an import-level test with the references inside
<desc>, which the import refuses, and checks that the namespace entities
drawing apps write (&ns_svg;) still import.
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.
A clipping path nested past the depth limit, and a group at the limit
that holds further groups, are refused before they are walked, instead
of being followed to any depth. The clipping path's check follows the
members its outline is built from: the first member of a nested
clipping group and the shown members of other groups. The group check
skips hidden members and treats a compound path as one shape, as the
solid builder does.
An image in a clipping group whose bounds lie wholly outside the clipping
path's bounds draws nothing, so a 3D effect leaves it out instead of
refusing it. An image with effects, fills or strokes of its own, or one in
a group with effects inside the clipping group, is still refused, since
those can draw it inside the clip.
- When a group's geometry effects reshape its members inside a clipping
group, each member's piece goes back into groups with the opacity and
blending mode of the groups it was in.
- A clipped shape's pieces (its fills and each stroke) are counted against
the 4,096-object and work limits before they are cut.
- Resolving the symbol instances, blends and clipping groups a 3D effect
builds from counts every object it visits or makes and stops past
262,144 with an error. Nested symbol instances that end in hidden art
are refused instead of being expanded at every level. Each object is
visited once; a group is no longer walked again for each level above it.
- A symbol instance, blend or clipping group inside a 3D group keeps its
appearance, so its geometry effects reshape the art it shows. A nested
group's geometry effects now reshape its members inside a 3D group too,
and inside a clipping group they apply before the clip cuts the art.
- Hidden members and guides of a group inside a clipping group build no
solid.
- Tests cover an empty clipping group, a blend set to no steps, an
instance of an empty symbol, a symbol holding a clipping group, the
paint-copy budget across resolved art, and art past the limits drawing
as it does without the effect.
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>
