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 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.
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>
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.
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.
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>
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.
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.
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.
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.
The Navigator panel menu's Panel Options… is enabled and opens a dialog with
the view box color (a preset or a custom color; Light Red, today's color, is
the default) and Draw Dashed Lines as Solid Lines, off by default, which draws
dashed strokes without their dashes in the panel's thumbnail only. The
options are kept with the UI state, and ui.navigatorPanelOptions sets them.
RenderOptions::solid_dashes draws dashed strokes as solid lines, including
type strokes and the silhouettes of stroke effects.
layer.setProps, layer.new, layer.newSublayer and livePaint.gapOptions read
an 8-digit hex color such as #ff000080 as #ff0000 and set it without its
alpha. They now refuse it with the error a bad color already gets, and
change nothing. #rgba was already refused. #rrggbb, #rgb, a preset index
and a preset name are read as before.
`Color::from_hex` reads `#rrggbbaa` and keeps only its first six digits, so
a `color` set to `#ff000080` through `ui.dialog.set` was applied as
`#ff0000` without an error by Tile Edge Color, Live Paint Selection Tool
Options, Live Paint Bucket Options and Gap Options.
- A new `checked` next to `resolve` in `dialogs/tile_edge_color.rs` gives
the existing "is not a colour" error for an 8-digit hex color, and
otherwise reads the color as `resolve` does. `resolve` is unchanged, so
the swatches the dialogs draw with it show such a color by its RGB as
before.
- Each of the four dialogs' OK checks the color with `checked` first, and
leaves the dialog open with nothing changed. Tile Edge Color and Gap
Options already refused `#rgba`, which `from_hex` does not read. Live
Paint Selection and Live Paint Bucket used to ignore a color they could
not read, such as `#f008`, and apply their other fields; their OK now
refuses it.
- With Preview on, Gap Options sends no color for a `#rrggbbaa` value, so
the groups keep their own color, and the previewed gaps draw in black.
Docs: the params text, docs/mcp.md, docs/control-protocol.md and
docs/target-app-parity.md.
The params text of select.same.symbolInstance, docs/mcp.md and
docs/target-app-parity.md now say that the object compared with can be
of any kind (a group member selected on its own, or an object that is
not a symbol instance, which leaves the selection empty), and that new
art on a locked artboard is not passed over while it stays selected.
A test covers the three cases.
The marquee's segment test built a two-anchor path for every segment and ran
hit::intersects_rect on it. It now skips a segment whose anchors and handles
all lie past one side of the marquee, and tests the rest directly with the same
bounds and edge checks, so it selects the same segments.
A marquee over 10,000 anchors, press to release (anchor_bench, median of 7):
one open path of 200,000 anchors 84.9 ms -> 24.1 ms, 2,000 closed paths of 50
anchors 27.5 ms -> 13.5 ms, one closed path of 50,000 anchors 14.6 ms -> 8.5 ms.
The renderer outlined the whole stroke of an edited path on every frame,
so dragging one anchor of a path with many anchors re-outlined every
segment. A stroke line of more than 1,024 elements without dashes or a
width profile is now outlined only for the segments within the stroke's
reach of the view, inflated by the view's own size on each side. The
cached outline keeps that region, and a frame outside it outlines the
stroke again. Closed subpaths that a wide stroke crosses over stay whole,
and a cut closed subpath is walked from a removed segment so no cut lands
where it starts and ends. The pixels are the same.
At 1600 x 1200, the frame after one anchor moves takes 28 to 30 ms
instead of 103 ms on an open path of 200,000 anchors, and 10 ms instead
of 30 ms on a closed path of 50,000 anchors (the new anchor_bench
example: cargo run --release -p vectorcraft-engine --example anchor_bench).
While Select > Start Global Edit can run, the Control bar shows a Global Edit
Options dropdown after Recolor Artwork. It opens the Properties panel's Global
Edit Options (Match: Appearance, Size; On Artboards; Include Objects On
Canvas; Result(s)), so both set the same options, and it is off while Global
Edit is on, as the Properties dropdown is. The bar leaves it out when no room
is left for it.
Public reference:
https://helpx.adobe.com/illustrator/desktop/manage-objects/edit-objects/edit-similar-objects.html
The dropdown takes room ahead of the inline X/Y/W/H fields, so the ruler-origin
tests that read X/Y from the Control bar draw it 1700 px wide.
A blend's record in the editing data holds its Blend Options spacing.
Word 1 is the spacing: 0 is Smooth Color, 1 is Specified Steps and 2 is
Specified Distance. For Specified Distance, word 2 is the distance in
points as a 32-bit float. The reader took only records whose word 1 is
1, so every Smooth Color and Specified Distance blend came in as its
drawn steps.
A Smooth Color or Specified Distance blend now opens live with that
spacing where VectorCraft lays out as many steps between each pair of
keys as the file draws, in the same places and colors. Otherwise it
keeps its drawn steps with the existing note. The distance is read as
the shortest decimal that reads back as the stored float. The steps are
counted before anything is laid out, and a blend takes from the
import's budget only when its count matches. Specified Steps blends
are read as before, with the steps counted from the drawn ones.
Tests: import::ai::tests::a_blend_keeps_its_spacing,
a_blend_of_three_keys_keeps_its_distance_between_each_pair,
a_blend_whose_spacing_doesnt_lay_out_its_steps_keeps_them,
import::ai::blend::tests::records_say_their_spacing,
a_blend_takes_from_the_budget_only_when_it_is_laid_out,
a_distance_past_the_keys_lays_out_no_steps, and the fuzz case
ai_blend_spacing_never_panics.
Object > Expand with Object on now turns each symbol instance in the
selection, including one in a selected group or in a placed document's
art, into its art, as Break Link to Symbol places it. It goes one level
deep: the instances in that art stay instances. The art keeps the
instance's id and place in the stacking order, and Expand stays one
undo step.
- Instances with effects stay instances, and Expand Appearance bakes
them as before. Instances with an effect on a fill or stroke,
instances in perspective, and those in blends, repeats and Intertwine
groups stay instances.
- The art keeps the instance's opacity mask, as Break Link gives it.
- A hidden or locked instance's art stays hidden or locked.
- A placed document in an instance's art is expanded too.
- When the instances' art would make more than 1,000,000 objects, they
stay instances, the limit Break Link uses.
- The Fill and Stroke options (object.expand.info, and the Expand
dialog) count the fills, strokes and gradients in the art of those
instances, with a dynamic instance's own changes applied. The info
reports under symbolArt which of them only that art holds, and the
dialog enables those options only while Object is on.
While the Type tool edits a frame of threaded text, Select All selects
the text of every frame of the story, highlighted in each frame. The
tool edits the first frame that holds text.
- Typing, Delete and Cut replace the whole story as one undo step
(`text.editRange` takes `clear`, the other frames whose text goes).
- Copy and Cut take the whole story (`text.getRange {id, story: true}`).
- Fills and strokes, `type.step`, `appearance.copyFrom`, the Character,
Paragraph, OpenType and text style panels, the Tabs panel's tab
stops, the font menus and the Justification dialog act on every
frame's text (`text.setRangeStyle {id, story: true}` styles them in
one edit).
- A caret move, a click or a word or paragraph selection ends it.
Select All in unthreaded type is unchanged.
Docs: docs/mcp.md, docs/target-app-parity.md.
A .ai file whose PDF part has a page for each artboard had its layers
compared with the first page only. Art that the layers drew on a later
artboard and its page didn't, or that a later page drew and the layers
didn't, opened from the layers with no warning, and a text object that a
later page doesn't draw stayed.
When the PDF part has a page for every artboard, each page is now
compared with the layers on its artboard, and the comparison fails when
any page differs by more than it allows. Text objects that a later page
doesn't draw are weighed there and left out, unless their layer doesn't
print. Art that differs on a later page is handled as on the first page:
such files now open from their PDF part with the usual warning, where
they opened from their layers before. A PDF part with pages for some of
the artboards, or with its pages cropped to the art, is still compared
on its first page only. Pages are compared until their comparison
drawings take 8,388,608 pixels (about 67 letter-size pages, or 4 when the
PDF part is only images), and at most 128 pages are compared. The type
share in the import's note is now that of the page whose type differs
most.
The layers are drawn once for the pages of the same size and cut into
each page's part. Each page moves by less than half a pixel to start on
a whole pixel, and the column or row the move takes past its artboard
isn't compared. Each page's drawing and result are kept until the layers
change, for the last two documents weighed. Taking a text object out
draws again only the pages within reach of it (every page when type
wraps).
An artboard, or the page of an EPS's editing data, whose sides are within
half a point of its page's is drawn on an area of the page's size, so
both drawings have the same number of pixels. Before, such a file could
open without its layers when the half point changed the rounded size of
its drawing, even when its layers matched the page.
Docs: docs/mcp.md, docs/target-app-parity.md.
PDF export writes a Perceptual spot gradient as a Separation or DeviceN shading only when its expanded curve has at most 4,096 stops (MAX_INK_TINTS in crates/color/src/gradient.rs). Longer curves are written as images, with the process-color warning.
A font that is not installed offered the sets of the face drawn in its place; the menu now offers none. Set names the font supplies are shown as they are, without UI translation.
The panning entry says a Drop Shadow or Outer Glow raster holds the
shadow or glow of group members outside the view. The Blob Brush
Fidelity entry keeps its citation on the option and states that the
slider and field range and the 1.5 pt default are VectorCraft's own
values. The Escape in Selection tool drags entry is stated as
VectorCraft's own behavior.
Capture sweep-piece source attribution before endpoint pinning can move its
midpoint off the original outlines. Keep the existing lookup after pinning
when the original piece has no source.
Add planar coverage and native compound Make/Expand/undo regressions, and
document the existing front-most source-fill rule.
The evidence entry for type in copies that a layer's or group's drawn look
draws now cites the help page that describes effects on a group or a layer,
and says that matching the page's type with a copy is VectorCraft's own rule.
Select > Same > Fill Color, Stroke Color, Fill & Stroke, Stroke Weight,
Opacity, Blending Mode, Appearance, Shape, Graphic Style and Appearance
Attribute compared the other objects with the first selected object,
even when select.set had put a hidden or locked object, one on a
template layer or one outside the isolated group first. They now take
the first selected object that the Select commands could select, in
selection order, and keep the compound path and isolation rules for it.
A selection that holds no such object returns "nothing selected".
Read RGB and HSB numbers in the active working RGB space in the Color panel
and Color Picker. Keep native values through hex and web-safe controls and
cache live components by native color and color settings.
dotCooCoo