Drawing a new Pencil or Paintbrush stroke kept the earlier selection: the engine's
`insert_look` selects the new path only when `keepSelected` is on, and with it off left the
selection as it was. Illustrator starts such a stroke by dropping the selection, and the new
stroke is not selected with Keep selected off, so the command now clears the selection after
inserting a new path.
What stays as before: with Keep selected on a stroke selects only the path it draws (the
earlier selection is replaced); a stroke that continues or redraws a selected path with Keep
selected off deselects that path and keeps the rest of the selection. The Blob Brush keeps its
own Keep selected and Merge only with selection options.
`path.freehand`'s documentation, the engine test
`pencil_with_keep_selected_off_leaves_nothing_selected` and the Tool Options test
`the_new_path_is_selected_only_with_keep_selected_on` cover the three cases. Docs: roadmap,
target-app-parity and ui-parity carry the change.
- Extend vectorcraft-geom::shapes with clean-room open/pie/chord/arc ellipse and rectangle builders, per-corner radii, polygon/star corner rounding and deterministic vertex randomization, logarithmic/Archimedean spiral divergence and inner radius, and perspective/isometric 3D box face builders.
- Isolate 3D Box and customizable shape parameters as a VectorCraft add-on under crates/*/src/**/addons/:
- crates/tools/src/addons/box3d.rs (Box3dTool and CustomShape extras stored under Node::extras["vc-shape-tools"])
- crates/engine/src/cmd/addons/shapes.rs (addon.shapes.rectangle, addon.shapes.ellipse, addon.shapes.polygon, addon.shapes.star, addon.shapes.spiral, addon.shapes.box3d, and addon.shapes.configure)
- crates/ui-egui/src/addons/shapes.rs (Object > Plug-ins > 3D Box > 3D Box Tool and context-sensitive Control bar options)
- Keep crates/engine/src/cmd/create.rs, crates/tools/src/shape.rs, and crates/tools/src/draw2/family.rs byte-for-byte identical to main.
- Add translations for "3D Box" and "3D Box Tool" across all 26 .tsv catalogs in crates/ui-egui/src/i18n/.
A linked 1-bit image mask from a .ai file keeps its fill color as a
colorize paint, so the image takes the color once its file is relinked.
Until then the image shows the missing-link placeholder, and the canvas
and PDF export colorized that placeholder too: its light tile turned
nearly transparent and its red cross took the fill color.
ImageBlob::takes_colorize is false for a preview whose pixels are not
grayscale. While it is false, the canvas draws the image and PDF export
writes it as it is, printed separations separate it as an uncolorized
image, and transparency flattening (EPS, PDF 1.3 and PDF/X-1a export,
Flatten Transparency) does not count its paint as transparency. The
paint stays on the image, and a grayscale preview is still colorized.
SVG and EPS export already write only grayscale images colorized.
A tab definition in type of the legacy format (`numDots numTabs Xb`, a
`leader decimal tabType tabPosition Xe` for each stop, then `XB`) was
skipped, so every paragraph opened with only the default stops every
36 pt. The stops it describes now become the paragraph's tab stops
(left, center, right or decimal, at their positions), and they last
into the next paragraphs and text objects like the other paragraph
attributes. A definition with no stops, or whose descriptions were all
skipped, leaves the default ones. A description with an unknown type or
a position outside 0 to 100000 pt is skipped, and so is one past the
first 1024 of a definition. A text object's `To` ends a definition that
an earlier object left open.
Docs: docs/file-format-parity.md.
VectorCraft now reads `CropAreaActive`, an `/Int` in the dictionary of
the editing data that holds the `ArtboardArray`, as the index of the
active artboard in that array. The reader ignored it before, and every
file opened on its first artboard.
The opened document starts with that artboard active, so the view the
document opens at and the Artboards panel use it. The index counts
every entry of the array, so an artboard that is left out (one with no
area) does not shift it. When the entry is missing, is not an `/Int`,
or names an artboard that does not open, the first artboard is active,
as before. A file that comes in as its PDF part, with its pages placed
where its artboards are, opens on the page of the active artboard, also
when the reading stops before the artboards. The same reader serves the
editing data of EPS and PDF files.
The active artboard is kept on the opened document only; native files
do not save it.
A linked image read from a version 7 `.ai` file can keep its path in
the classic Mac OS form, with colons between folders
(`Macintosh HD:Images:photo.tif`). The link's name was the whole path,
so the Links panel showed it as one long name, and Relink to Folder,
the search of the document's folder and Find Linked Files looked for a
file with that whole string as its name.
A path with a colon and no `/` or `\` is now read as a classic Mac OS
path. Its name is the part after the last colon, and `links.info` gives
the rest as `location`. Relink to Folder, the document-folder search and
`links.findFiles` look for that name, and Find Linked Files compares the
path's folders with the folders of the files it finds. The link keeps
the path as stored. Paths with a `/` or `\` keep those as separators,
so a file name may still hold a colon (`/Users/a/x:y.png`).
Docs: docs/mcp.md (Links), docs/file-format-parity.md (version 7
linked images).
As asked in review: the reference app has no such commands, so they ship
in the Color Effects add-on. paint.fillToStroke / paint.strokeToFill are
now addon.color.fillToStroke / addon.color.strokeToFill in
cmd/addons/color.rs, listed in Object > Plug-ins > Color Effects instead
of the Color panel menu, with catalog rows in all 26 catalogs.
Two fixes from CodeRabbit's review:
- A graph's series marks and labels give the graph the copied paint in
the same undo step (capture_series_paints / capture_label_styles, as
paint.setFill does), so drawing the graph again keeps it. Targets go
through graph::paint_targets, so a series group stands for its marks.
- A copy that would leave the effective paint as it is skips the object,
so None copied onto a missing fill or stroke adds no item and records
no undo step.
paint.fillToStroke and paint.strokeToFill copy each target's own top fill onto its top stroke, or the other way, so a mixed selection keeps each object's colour. They aim and undo like Swap Fill and Stroke: groups and compound paths by their members, each text run with its own paint, and only the characters the Type tool has selected. A stroke given paint at width 0 gets 1 pt, skipNone leaves objects whose source paint is None alone, and the defaults for new art change the same way. Both are in the Color panel menu after Invert and Complement.
In the legacy format, `Tr` sets the rendering mode of the type that
follows. Section 5.7 of the version 7 specification says that modes 4 to
7 make the text object a mask: 4, 5 and 6 also fill, stroke, or fill and
stroke it, and 7 paints nothing. Sections 15.3.2 and 15.4.5.1 add that
these modes are used in pattern definitions, and the reader does not
read type in a pattern. The reader painted 4 to 6 like 0 to 2 and never
clipped, so the art a text mask clips showed whole.
A text object with characters in modes 4 to 7 is now a clipping path of
its clipping group (`q` ... `Q`, or the layer), as a path painted with
`W` is, and the whole object is the mask. Beside other clipping paths it
nests as they do, and the mode lasts into later text objects. Area type
with linked areas (threaded frames, also when the reader's limits keep
one frame), and type in wraparound text or in a compound path, a group
inside them included, doesn't clip, with a warning.
A `Tr` operand that is not a whole number from 0 to 9 now leaves the
mode as it was; before, 4.5 read as 4 and -4 hid the type.
The new warning and the reader's warning about linked type areas left
out get rows in every catalog.
The Adobe Illustrator File Format Specification 7.0, section 4 (p. 51),
says the name shown for a global object is the part of its name in the
file before the newline
(https://13thmonkey.org/documentation/fonts/AI7FileFormat.pdf). The
legacy reader kept the whole name, so swatches and patterns came in
named "Sky\n1". The reader now applies this rule to the files of every
version it reads.
- Gradient swatches, gradient fills, pattern definitions, pattern fills,
palette cells and art-style pattern fills use the part before the
newline. Lookups inside the reader still use the whole name.
- When that name is taken, the first free "Sky 2", "Sky 3" is used.
Taken names are None and Registration, the palette's own swatch and
group names, the default swatches when no palette replaces them,
named colors (color operators, gradient stops, version 7 pattern
strings, the header's and an EPS program's custom colors), the names
of gradients and patterns that have no newline, and the names given
to earlier gradients and patterns. Only content the reader reads
counts: not the alternates of versioned content, the prolog, skipped
sections or what follows the trailer.
- A name with nothing before the newline comes in as "Gradient" or
"Pattern". Names without a newline do not change.
- docs/file-format-parity.md lists the rule.
In the legacy format, `TZ` makes a re-encoded font from an existing one
and can give it encoding pairs of its own, which change only that font's
encoding. Its `useDefault` operand says whether the file's `TE` encoding
also applies to the font (Adobe Illustrator File Format Specification
7.0, section 3.3.1,
https://13thmonkey.org/documentation/fonts/AI7FileFormat.pdf). The
reader skipped the body of `%AI3_BeginEncoding` sections and ignored
`TZ`, so every string was decoded with `TE`'s encoding.
Strings in a re-encoded font are now decoded with its own pairs, then
with `TE`'s encoding when `useDefault` is 1, and as Windows-1252 for the
codes left. Strings in other fonts keep `TE`'s encoding. The reader
reads `TZ` in the body of an `%AI3_BeginEncoding` section and wherever
else it appears in the script, with or without the direction operand
and the Multiple Master weight vector. The font names are the last two
names, and only numbers and the weight vector may follow them; the
reader does not use a `TZ` of another shape. The first `TZ` for a font
is used.
`TZ`'s font names also map the re-encoded font to the font it was made
from, as the `%AI3_BeginEncoding` comment does. Type in a re-encoded
font that no such comment names now opens in the font `TZ` names; when
both name the font, the first one read is used.
The version 7 and version 3 file format specifications list three text
operators the editing-data reader did not dispatch, so a file whose type
used any of them on a visible layer did not open from its editing data:
- `(text) justified TS` (special characters): the reader adds its
characters to the story, as it does for `Tx` and `Tj`.
- `Te` (end render) is read and ignored. The reader accepts it with any
number of operands.
- `TM` (pop text matrix) is read and ignored.
Tests cover each operator in a text object, `TS` without a string and
outside a text object, and `Te` inside a tab definition. The import fuzz
tests add the operators to the legacy type tokens.
The version 7 file format specification gives `XI` and `XF` an
ImageMask operand: 0 is an opaque image, 1 is an image that is
transparent and can be colorized (sections 8.1, 8.2 and the 1-bit
examples in 8.4,
https://13thmonkey.org/documentation/fonts/AI7FileFormat.pdf). The
reader ignored the operand, so a 1-bit image mask opened as an opaque
black-and-white image.
A 1-bit gray image with ImageMask 1 now opens with the fill color set
before it as the color that colorizes it. A spot or global color keeps
its swatch and tint. When the fill is a pattern, a gradient or none,
the image is colorized black. VectorCraft's own rule is that the pixels
that open black with ImageMask 0 take the color and the others are
transparent. A linked image (`XF`) keeps the same color for when its
file is relinked. 8-bit gray, RGB and CMYK images, and images with
ImageMask 0, open as before.
In `.ai` and EPS editing-data import, a clipping group, layer or opacity
mask's art that holds more than one clipping path (`W`) now clips to the
intersection of the paths, as each `W` intersects the current clip (AI7
spec section 5.6.2,
https://13thmonkey.org/documentation/fonts/AI7FileFormat.pdf). Before,
the paths were joined into one compound path, which clipped to their
union, and kept a stroke only when every path had the same one.
Each clipping path after the first clips a clipping group nested inside
the one before it, and keeps its own stroke, opacity and blend mode. The
innermost clipping group holds the art in the order written; as before,
every object in the group is clipped by all of its clipping paths. A
clipping path's painted fill stays at its path's level. A compound path
of clipping paths (`*u` ... `*U`) is still one clipping path. Clipping
paths that would nest the art past the document's 32 levels stop the
editing data from being read.
The editing copy of a PDF-compatible .ai wrote every image as its outline
filled with its average color. Embedded images are now written with their
pixels, and linked images as placed files with a preview:
- Embedded images are rasters in the form of the version 7 specification
(section 8, https://13thmonkey.org/documentation/fonts/AI7FileFormat.pdf):
%AI5_BeginRaster, the color space, the image matrix and the XI operands
of current files, then the samples in binary in a %%BeginData section.
Gray, RGB and CMYK images keep their samples (CMYK images their ink
amounts), and see-through images their alpha channel after the color
samples. The matrix is written to ten decimals.
- Linked images are placed files (section 16): the matrix, the box of the
file's pixels and its path, %%IncludeFile, the folder relative to the
document's (when the relative path ends in the path's file name), and a
preview of at most 256 pixels a side.
- Images that can't be decoded or have more than 33,554,432 pixels (the
most the reader reads) are written as their outlines filled mid gray,
images of 16 bits a channel (CMYK TIFFs included) at 8 bits, and linked
images in opacity masks and pattern tiles as embedded images, each with
a warning.
Each of these is written in the form VectorCraft's .ai reader reads, and
the tests read the written data back through that reader.
The reader now gives an image its name and opacity mask when the
operators that end its raster (XH, Xr and the N after %AI5_EndRaster) come
before its dictionary, reads an empty relative folder as the document's
own folder, and looks for the %%EndData that ends an image's samples
after the alpha channel its XI operands give it, preferring one whose next
line is XH, so samples that hold the marker's bytes are read whole.
Tests: the round trip of every kind of image and its state, a second write
of what is read back giving the same bytes, the raster and placed-file
forms, previews of large linked images, and the engine's editing copy with
every save option; a fuzz case for damaged images and placed files.
Docs: docs/file-format-parity.md.
In the legacy format, area type whose story flows through several linked
areas has one text path (`Tp` ... `TP`) for each area, each with its own
matrix and frame (version 7 specification, sections 15 and 15.5.3). The
reader kept only the first frame, placed it with the text object's last
valid matrix, and put the whole story in that one frame.
Each linked area with a frame now opens as its own area type object,
placed with its own matrix, and the frames are threaded in file order.
The first frame holds the story: the characters after every `TP`, and
the overflow text. When the file opens, the story is laid out again
through the thread (section 15.1 lists the flow from area to area as
final-form information). A linked area without a frame is left out.
Area type with one area opens as before.
The dictionary that follows a text object (its opacity mask, text wrap,
name and other keys) went to its one object. Its opacity mask and text
wrap now go on every frame, and its other keys on the first frame.
Point type is read with its first text path's matrix, and type on a
path with the matrix and start of the first text path that has a path.
Area type with no frame at all opens as point type with its first text
path's matrix. Before, these used the last valid matrix and, for type
on a path, the last start.
One text object reads at most 4,096 text paths. The number of frames
times the story's character count is kept to 4,194,304, so a longer
story keeps fewer frames. Frames past either limit are left out, with a
warning.
A legacy .ai in the version 7 form names a linked image's file with
`(path) modified XG` and draws the image with `XF`, which takes the
operands `XI` takes and has no samples after it (Adobe Illustrator File
Format Specification 7.0, sections 8.2 and 8.3). The reader ignored both
operators, so the image was dropped without a warning.
- `XF` after `XG` becomes a linked image of that file, its pixels placed
as an `XI` image of the same operands is placed. The file keeps no
pixels of it, so a placeholder stands in until the file is relinked in
the Links panel, with a note in the open result. No pixels are read,
so the image is not held to the pixel limit of `XI`'s samples.
- An `XF` without a file name before it, or with operands `XI` couldn't
read (no matrix, too few numbers, no pixels, or samples of other than
1 or 8 bits), is left out with the existing "an image VectorCraft
can't read was left out" warning. An `XG` applies only to the image
after it in the same raster object; `() 1 XG` before an embedded `XI`
keeps that image embedded.
- A PostScript page draws nothing for `XF`, so there the placeholder's
area is left out of the comparison of the layers with the page, and
the file keeps its layers. A PDF part draws the image's pixels, so a
file with one is compared with it there as before, and its layers are
not used without the PDF part.
- Linked images of different files get image keys of their own even
when they show the same pixels (the placeholder, or two identical
placed-file previews), so updating or exporting one file's image
reads that file only.
- `vectorcraft_doc::links::missing_placeholder` draws the placeholder: a
light tile, crossed out, as SVG import shows for a missing file.
Tests: reader tests for the placement, the image keys and the cases left
out, an end-to-end test of a legacy file with a linked image, a test of
a file with a PDF part, and a fuzz case for damaged files with `XG` and
`XF`. The new note has a row in each catalog that translates the
placed-file note.
Type in the text document of a .ai or EPS file's editing data that names
no character or paragraph style, a story without style runs included, is
set in [Normal Character Style] and [Normal Paragraph Style]. The reader
took what such type leaves out from the text document's base attributes
instead, or built-in defaults for a story without paragraph runs, and it
did not read paragraph styles.
A Large Canvas file (1:10) holds the normal styles' lengths at the art's
scale (1.2 for 12 pt) and the base attributes' at the page's (12). The
reader scaled the base attributes' 12 by 10, so the type came in at
120 pt. In an EPS the page comparison then rejected the layers, and the
file opened as its printed page without its linked images.
In any file whose normal styles differ from the base attributes, such
type now takes what the normal styles set, such as font, size, colors,
stroke, alignment, indents, space before and after, and hyphenation.
`.ai` and EPS editing-data import now reads object tags
(`/identifier (string) XT`) and applies each one to the object before it,
whatever kind of object it is. The `AdobeURL` tag sets the object's URL.
Every other tag is added to the object's data in order, up to 64 per
object. A tag with no object right before it, with an empty identifier,
or with an identifier or string longer than 64 KiB is ignored, and so
are tags in a pattern's or brush's art. A clipping path keeps its own
tags; the copy that paints its fill gets none.
Before, a tag on art that shows was an operator the reader did not know,
so it stopped the editing data from being read, and brush art holding a
tag was not read, so the brushes using it were left out.
An image's tags follow the `XH` that ends its data, and the state written
after a group or a gradient mesh is still theirs when their tags come
first. When a drawn look stands for an object whose style is not found,
the look keeps the object's note, URL and data, and a live blend keeps
those of its drawn steps.
The editing copy for other apps now writes linear and radial gradients and
grid patterns as themselves instead of as average colors and cut tiles.
- Gradients the art uses are defined in the setup (`n Bn`, then
`%AI5_BeginGradient` … `Bd`, the stops as `Bs` with their opacity and
midpoints, `BD`), and gradient swatches nothing uses in a non-printing
block. Stops keep gray, CMYK, RGB and spot colors at a tint. A
gradient that isn't a swatch gets a name that no swatch or pattern of
the document has.
- Each fill or stroke with a gradient is an instance around its painting
operator (`Bb`, `Bh`, `Bg`, `Xm`, `Bm`, `Bc`, `BB`), on a compound
path's last subpath and on clipping paths too. `Bg` places the gradient
relative to the path: a linear one by its angle and its start and length
as fractions of the path's extent along it, a radial one by the matrix
that takes the unit circle onto its extent ellipse, its center as
fractions of the path's bounds in that circle's space and its radius as
a multiple of the one the center's distances to the right side and to
the bottom give. In a pattern's tile the placement is mirrored top to
bottom.
- Patterns whose tiles make a grid and hold their art are defined with
`%AI3_BeginPattern` … `E`, the tile's box first, and fills and strokes
paint with `p` and `P`; gradient and pattern swatches are in the palette.
- Freeform gradients, gradients along or across a stroke and gradients
without stops, with more than 256 stops or without extent are written
as their average color, and other patterns as their tiles cut to the
shape, each with a warning. Gradients that dither or mix perceptually
are written as classic ones, stops linked to global process colors as
their colors, and pattern swatches without the placement that moves,
turns or scales their pattern, with warnings.
- Reading: an unpainted box that a pattern's definition marks as its
tile's box (`AIPattern_Editor_Backing_Tile_Rect`) is no longer read as
art, and a linear gradient whose stops all lie at one place keeps each
stop on its side.
The definitions, instances and patterns follow sections 3.4, 3.5 and 14
of the version 7 specification
(http://mercator.elte.hu/~saman/hu/okt/AI7FileFormat.pdf). The stop
opacity, `Bg`'s placement and the marked tile box follow the newer form
that current .ai files carry, which that specification predates.
Each of these is written in the form VectorCraft's .ai reader reads, and
the tests read the written data back through that reader.
Docs: docs/file-format-parity.md.
While Select All holds a threaded story, a paragraph whose text starts in one of the
story's locked or hidden frames is no longer converted, and the empty parts of a converted
paragraph in such a frame are no longer restyled. Before, a locked frame whose first
paragraph took in the previous frame's empty last part was converted, and so was a
paragraph that ran on from a locked first frame into an editable one.
After Select All in a frame of threaded text, Remove Line Breaks and
Remove Paragraph Breaks changed only the edited frame, and Convert to
Text over MCP converted only the selected frame. Both now act on the
text of every frame of the story as one undo step.
- addon.cleanup.removeBreaks reads the frames of the story as one text,
so a break at the end of a frame before a word in the next one becomes
a space. The same applies when every frame of a story is selected as
objects.
- text.convertListToText without ids, id or a range converts every
paragraph of the story. Locked and hidden frames of the selected story
are not converted, even when ids names them. When the call converts
the whole story, the story stays selected; before, the call reset the
Type tool's selection to the edited frame.
- A selection inside one frame, and unthreaded type, behave as before.
Docs: docs/mcp.md, docs/target-app-parity.md.
`the_fallback_glyph_of_a_consonant_after_its_vowel_sign_is_reported` expected
the fallback face's cmap glyph for the vowel sign I. On the Ubuntu runner the
fallback face is Noto Sans Devanagari, whose shaping draws the sign with
another glyph (545 instead of 32), so the test failed on `main`. It now checks
that two glyphs are drawn in Ka's cluster, the first is not Ka's and the
second is, and keeps the `text.glyphAlternates` checks.
Fixes#5750
Where two open paths lie along the same stretch, the planar map gave
that stretch to one of them only, so a merge or an erase across it left
the other path in place there. Every other open path along an edge now
has its own piece in `lines_under`, under a closed path's outline or
along a line in front. `lines`, `edges` and Live Paint's edges stay one
per stretch, and an Alt-click there still takes the piece in front.
Doc comments for the Select add-on commands, the Select by Link Status
dialog body, the Links panel menu and the test helpers (review: docstring
coverage).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Selection Tools add-on: addon.select.byLinkStatus selects the image
objects and placed documents whose link is linked, embedded, missing or
modified (one status or several), as links.list reports it. Optional ids
limit the search, add adds to the selection, and zoom runs the existing
Zoom to Selection in the desktop app. Objects that are hidden, locked, on
a template layer or outside the isolated group are left out and returned
with the reason. Only the selection changes.
Select Linked / Embedded / Missing / Modified are in Object > Plug-ins >
Selection Tools and the Links panel menu. Each is off when no image has
that status, and Shift adds to the selection. Select by Link Status...
lists the images with name, status and format, with a name search, a
status filter, checkboxes with All / None and Zoom to Selection. The
status bar says what was selected and how many were left out, with
plural rows in every catalog.
Tests: engine (statuses, ids, add, zoom, skip reasons, bad params),
command sweep, and UI (message, list filtering, menu items, Links panel
menu, headless dialog frame). Docs: mcp, target-app-parity, ui-parity,
roadmap.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Review of #5694 asked for two changes.
Add-on, not a core tool, as Enclosing Lasso is:
- The command is addon.contour.set, in an add-on module of its own
(crates/engine/src/cmd/addons/contour.rs) with its tests beside it.
- The tool is listed under Object > Plug-ins > Contour and under its own
"Contour" heading in All Tools. It has no Basic or Advanced toolbar
slot and no default shortcut. The Contour bar is unchanged.
- The add-on drawer test lists Contour with the other add-on tools.
- Docs (mcp.md, the parity documents, ROADMAP) say add-on and use the
new command name; mcp.md gains a Contour add-on section.
Translations: rows for "Contour", "Contour Tool", "Sharp", "Bake" and
"Turn the Contour into plain paths" in all 26 catalogs ("Round" and
"Square" already had them). Drafted from each catalog's own vocabulary
(for Bake, the verb it uses for Expand Appearance; a word other than the
catalog's Stroke or Path word for the tool's name where they collide);
they are not native-speaker reviewed.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Two fixes from review of #5694, each with a test that fails without it:
- Dragging a selected Contour sent the tool's own corner options, so a
Round or Square Contour came back Sharp and lost its miter limit, and
the Contour bar (which reads the effect) disagreed with the shape. The
press now reads the Contour's own corners and miter limit and every
preview of that drag carries them; a new Contour still takes the tool's
options.
- A drag that never moved the distance (along the edge, or rounded to
nothing by Shift) previewed offset 0 and committed an unchanged copy
and an undo step. Nothing is previewed until the distance leaves where
it started.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Add a Contour tool (Modify group). Dragging away from a selected path or
shape's edge makes a copy of it that carries a live Offset Path effect,
grown by the drag; dragging toward the inside shrinks it. The result is
one undo step and stays editable until baked with Expand Appearance. A
second drag on a selected Contour changes its distance instead of
nesting another effect.
- object.contour: the command behind it (offset, sharp/round/square
corners, miter limit), usable over MCP and the control channel too.
- Contour tool: live preview, Shift rounds to whole points, Escape
cancels, a dashed guide with a white halo shows the outline the shape
had, and a pill shows the distance.
- Contour bar: a floating bar above the selection with the offset box,
Sharp / Round / Square and Bake (Expand Appearance).
- Toolbar slot under Modify (Basic and Advanced) and dc-contour.svg, an
original icon with its ASSETS.md row.
- Tests for the command, the tool's pointer gestures and the bar; the
border-with-a-gap recipe (two Contours, bake, Minus Front) is covered
end to end.
- Docs: beyond-Illustrator row, revision histories and the ROADMAP log.
Beyond Illustrator: a VectorCraft design built on Offset Path. Scores and
estimates unchanged.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
The Control bar asks whether Select > Start Global Edit can run every
frame it shows a one-object selection. For a path, compound path or
symbol instance that check built the object's form: a copy of every
anchor and handle, normalized into a unit box. On a 200,000-anchor path
it took about 2.2 to 3.0 ms a frame.
The check now walks the object the same way and measures only the box
of those points, then applies the same size test, so it gives the same
answer for every object without allocating. Starting Global Edit still
builds the forms it compares.
A document tab dragged sideways along the tab strip moves its document to the
place an insertion line marks; the current document stays current. Dragged
above or below the strip, the tab still tears off into a floating window. The
views Window > New Window opened move with their document, and each document
keeps its own zoom, centre and artboard.
The move is the engine command `document.move {from?, to}`, so the control
channel, MCP and recordings reach it, and a replay moves the document before
the steps recorded after it. `sync_views` keeps the views with their documents
by uid when the documents change order.
Behaviour: https://helpx.adobe.com/illustrator/using/customizing-workspace.html
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A Type Tools add-on command (Object › Plug-ins › Type Tools › Release Type on a
Path…, `addon.type.releasePath`): each selected type on a path becomes point
type with the same runs, character and paragraph attributes, on one straight
line whose baseline starts where its first character sat, and the plain path
it was set on, with its exact shape and transform, in its layer and stacking
place, with no fill or stroke. `mode` keeps both, the path only or the text
only; `keepOriginal` leaves the type on a path and adds the released objects
above it. Other objects are left alone, nothing to release makes no undo step,
the run is one undo step and the released objects are selected. The command
dialog previews it as Type on a Path Options does (#5360): Cancel leaves no
history, OK is one step. Tests, command_sweep cases, catalog rows in all 26
languages, docs/mcp.md and the parity docs (beyond Illustrator: scores
unchanged).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
addon.pathtools.cornerSet takes `every` ("all", "odd" or "even"; default
"all"), which keeps, of the anchors already chosen (named, direct-selected
or all), only the odd- or even-numbered ones, counted along each path from
its first anchor as number 1. Anchors that take no corner still count, so
the pattern follows the path's anchor order on open and closed paths; when
nothing is left the command says so. Unknown values are refused.
Object › Plug-ins › Path Precision Tools › Set Corners… (also a button in
the Anchor Inspector's Corners section) opens a dialog with Radius, Corner
kind and Anchors (All / Odd-Numbered / Even-Numbered) that previews on the
canvas and commits as one undo step.
A path or compound path whose Transform effect made copies expanded to
one compound path of every copy. It now expands to a group of one object
per copy, each painted as the path, as gradient copies already did; a
second Transform effect's copies nest in a group per copy of the first.
Drawing is unchanged.
# Conflicts:
# docs/effects-parity.md
Locking or hiding the layer (or a group) around the isolated object left
its art selectable with the Selection tool: the isolation branch of the
hit test only checked for a locked artboard, and the marquee's checked
nothing. Both now pass over isolated art that isn't editable.
dotCooCoo