* Native format: the .vectorcraft envelope comes from craft-vectorcraft-format
vectorcraft-format reads and writes the file's envelope through the
craft-vectorcraft-format crate in craft-libs: Head and Image, the version
and size constants, the format and version check, Tail for the data after
the JSON, split_tail and entry, and base64. The constants, is_compressed,
json_part, base64_encode and base64_decode are re-exported from
vectorcraft_format, so callers do not change. load_file reads the members
it uses with Image entries and skips the preview and PDF data. The
document, its migrations, the version 1 writer, gzip writing, sniff and
the limits on decompression stay here.
A preview or pdf member of the wrong shape now reads as missing on its
own, so pdf_content still returns a file's PDF when its preview is
damaged.
A new test saves a document in every version, compressed and pretty,
with a preview, profiles and a PDF, reads it back, saves it again and
compares the bytes; it also reads each uncompressed file as the crate's
File. Another reads the PDF of a file whose preview is damaged.
* Native format: sniff from craft-vectorcraft-format, pinned at #408's head
- craft-vectorcraft-format moves to craft-libs 0fd7e75fe6, the head of
storytold/craft-libs#408.
- `sniff` is the crate's: a file is native when its top-level `format`
member, within the first 256 bytes after decompression, is
`vectorcraft` or `drawcraft`, read with JSON escapes decoded. The word
elsewhere in the head no longer counts. All 192 corpus files and
their resaved copies get the same answer as before.
- Envelope errors other than the format and the version keep the
crate's message instead of reading as a compressed file that unpacks
to too much.
- A test checks that a repeated `generator`, `preview` or `pdf` opens
and any other repeated member is refused, by `load_file` and by the
crate's `Contents` alike.
* Native format: read through the crate's Contents and Entries
Pins craft-vectorcraft-format at 420a27f18f, the current head of
craft-libs#408, and replaces VectorCraft's own copies with the crate's:
- load_file reads the JSON through Contents::read, which also refuses
another format or a newer version. Opened is removed. Messages are
those of main: serde names the struct File, as main's reader did.
- In-memory data after the JSON (uncompressed files, and compressed
files unpacked whole) is read through the crate's Entries.
entries_within keeps its streaming reader for compressed files, whose
data is unpacked entry by entry and is never one slice in memory.
- The streaming reader finds the marker through the crate's marker_at.
- MAX_BLOB is the crate's MAX_ENTRY (1 GiB).
save_to still writes the envelope member by member: it streams the
document into the output and looks for the images it uses as it
writes, and File would need the images before the document. A new test
checks that its output, compact, pretty and compressed, for versions 1
to 4, equals serde_json::to_vec or to_vec_pretty of the crate's File
holding the same members followed by the crate's Tail, so a change to
either side fails.
* Native format: pin craft-vectorcraft-format at craft-libs main
craft-libs#408 merged as 14d5dbb50c; the crate is unchanged from
420a27f18f. A test checks that the crate's sniff takes every layout
VectorCraft has written: the version 1 and 2 files from before the
rename, compact and pretty, and each version save_with writes.
OK on colors opened alone snaps each color the Global Adjust changed to the
library's nearest color before saving the new group, as recolor.apply does for
a group's colors.
Save… in the Document Info panel menu now writes only the category the
panel shows, with Selection Only applied. With All Categories shown it
writes every category, as before. docInfo.save takes an optional
category (a document.info category id) and passes it to document.info.
A tint linked to a global swatch of the color group that recolor.apply
rewrites kept its link and showed the swatch's adjusted color at its
tint, which differs from the same color adjusted on its own. It now
keeps the link only when the two match, and otherwise takes the
adjusted color, unlinked.
A curve rejected for having more than 256 segments now counts the most points a curve may have against the document's pressure points, so linking it from many strokes reads it a bounded number of times. Once the points are used up, later strokes import as plain strokes with a warning.
Simplify Anchors (Keep Shape) simplified every path under the selection,
locked and hidden paths and paths in locked or hidden groups included.
It now takes only the paths Document::editable allows, as the health
check and Rejoin Path Pieces already do.
Deep Ungroup took apart hidden and locked groups inside the selection,
so their members became visible or unlocked. A hidden or locked group
now stays whole, a locked or hidden object named in ids is left alone,
and members that are locked or hidden themselves keep that and are not
selected. With no group to take apart, the reply's ids list the
selection, which stays as it was.
The Edit tab's color mode menu offers Global Adjust, with Saturation,
Brightness, Temperature and Luminosity sliders from -100% to 100% that
open at 0%, which changes nothing. One slider changes every recolored
color, each one separately, in its own model; the rows keep their new
colors and the art previews the change. The Edit tab also shows the
color sliders of the selected new color in the other modes.
recolor.apply takes globalAdjust {saturation, brightness, temperature,
luminosity}. Excluded rows and colors no row holds stay as they are, a
rewritten color group takes the same change, and with Limit to Library
each row's new color takes it before it snaps to the library.
Docs: docs/mcp.md, docs/control-protocol.md, docs/target-app-parity.md.
When a frame brought pointer moves after the button-up, the canvas
ended the drag at the frame's last pointer position. A Rectangle drag
stretched to it, a Pencil stroke ran on to it, and dragged art moved
there. The release now uses the position the button went up at; the
moves after it are hover.
With Create PDF layers on, every layer's form XObject had
/BBox [-32767 -32767 32767 32767] and started with an empty clip at
x = -32000 that only marked the form while the file was written. Other
apps read that as art about 23 m across, and the reporters could not move
or place the imported layers.
- The marks of layer, overprint and invisible-text forms are removed when
the file is finished.
- A layer's form gets a box round its art and the page's paper, in whole
units. Since the box still covers the page, PDF import skips it as a
clip, so sublayers still import as sublayers.
A version 7 text object has no arbitrary-angle character rotation: its
character attributes include baseline shift (Ts), scaling (Tz) and
tracking (Tt), Tv only turns Roman characters 90 degrees in vertical
text, and the positioning operators such as Tm are ignored on reading.
Type with Character Rotation was written as editable text with the
rotation left out, so rotated characters opened upright.
Such type is now written as its glyphs' outlines, the way type 8-bit text
can't hold already is, with the warning "type with rotated characters is
written as outlines, which keep the rotation, and is no longer editable
text". The outlines keep each character's rotation, baseline shift and
scale. Type without rotated characters, and type turned a whole number of
times, is still written as text.
Docs: docs/file-format-parity.md, docs/mcp.md, docs/target-app-parity.md.
A Separation space whose colorant is named All paints every plate, and
one named None paints nothing (ISO 32000-1:2008, 8.6.6.4). EPS export
wrote a spot swatch's name as its colorant, so a spot color named All
printed on every plate and one named None did not print.
Such an ink is now written as All Spot or None Spot, numbered All Spot 2
and on when a spot swatch already has that name, in its Separation
space, DeviceN spaces and the %%DocumentCustomColors and
%%CMYKCustomColor comments. At PostScript Level 3, a gradient that mixes
one of these inks with another spot ink or with process or gray stops is
now a DeviceN shading instead of process colors. Registration still
writes All.
A gradient of one spot ink's tints and paper white is written as a
Separation shading in that ink, with each white stop at 0% of it. A
white stop linked to a swatch that is not a spot color (a global White
swatch, for example) did not count as paper white. In an RGB document
the spot ink was then dropped: a Classic gradient was written in the
stops' own colors, and a Perceptual one was exported as an image in
process colors.
Such a stop now counts as paper white in the Separation and DeviceN
paths and in the checks that pick them, as an unlinked white stop does.
A stop linked to a white spot color is still a stop of that ink.
Gamut Check reported "1 colour(s) are out of the CMYK gamut". It now
reports "1 color is out of the CMYK gamut", "3 colors are out of the
CMYK gamut" and "All colors are within the CMYK gamut", and the status
bar shows them in the interface language through new @msg and
@msgplural rows in every catalog. The plain catalog rows for the old
British text are removed, since the status bar does not read them.
An override on a dynamic symbol instance names an object of its symbol's
art by path. Replace Symbol kept every override whose path the new
symbol's art also had, so a change made to one object of the old symbol
was applied to an unrelated object of the new one. An instance given a
different symbol now drops its overrides; an instance replaced with its
own symbol keeps them. Undo brings them back.
- Each segment of a pressure curve is also sampled where its width stops
rising or falling, so a dip between the regular samples of a long
curve is kept. The segment's values are scaled into -1..1 before that
is solved, so huge values in a file can't overflow it.
- A curve counts as full width only within 1e-9 of it, so a curve just
under full width keeps its profile.
- The pressure points of all strokes in one read are limited to about a
million, as for characters and table cells. Curves at full width count
too, and once the limit is reached no more curves are read; the
strokes past it are imported as plain strokes with a warning.
A clipping path hides the art outside it. Empty Text removed empty type
that clips a clipping group, and Off-Artboard Art removed type that clips
a layer from off every artboard, so the art they hid showed. Both now
leave type that is a clipping path, as the other kinds already did, also
when the clipping path itself is selected.
Docs: docs/mcp.md (Artwork Cleanup kinds table).
The test for #3818 checked the tool tip's text color and the style's
window fill. It now also checks the fill of the box drawn behind the tool
tip's text, and that the text and the box have a contrast ratio of at
least 4.5, for every brightness and scheme.
The Spiral tool places its anchors on a logarithmic spiral, with the
radius shrinking by the decay each quarter turn, but gave every handle
the direction of a circle's tangent and a length from an averaged
radius. The curve bulged off the spiral between anchors and turned at
each anchor, so the spiral looked squared: up to 2.8% off its radius at
the default 80% decay and 23% at 30%.
The handles now follow the spiral's own tangent, with lengths that
differ at each segment's outer and inner end. The curve stays within
0.03% of the spiral at 80% decay and 0.8% at 20%. Anchor positions and
counts are unchanged.
An Affinity stroke shaped with the Width tool stores its pressure curve
(LDeP: position along the path against width). The importer warned and
drew the stroke at full width all along.
- The pressure curve is read and sampled into the stroke's width
profile (2 to 8 points per segment, 256 segments at most, widths up
to the full weight). A curve at full width all along stays a plain
stroke; one that can't be read is warned about.
- Brush strokes keep their own warning.
- The pinned Affinity 3 signatures for the five corpus files with such
strokes are updated.
The theme's colors went into egui's style for the current system theme
only. When the system's light or dark setting differed from it or
changed while the app ran, egui switched to its other style, which held
egui's defaults: tool tips became a white box with gray text, or with
the theme's light text. Applying a brightness now sets egui's theme to
match, starting from the current style so settings such as the tool tip
delay carry over.
Dropping rows with neither a label nor a value read the data padded to
the widest row, so a dropped row wider than the rest (`,,`) left every
kept row one blank cell wider. The graph then had an extra blank series,
and a right-axis assignment to that index was kept. Each kept row now
keeps its own width. This applies to graph.setData and to a graph
variable's data set.
With the clipping path of a clip group or a clipping layer selected, or a
member of a compound path that is the clipping path, Paste in Back put the
clipboard's objects below it. The bottom pasted object then became the
clipping path. With nothing selected in a clipping layer, Paste in Back did
the same at the bottom of the layer.
Paste in Back now puts the objects right above the clipping path, as Send to
Back keeps art above it.
Applying a data set wrote a text value into the bound frame only, and the
thread's reflow then joined it with the other frames' old text. The art no
longer matched the row it had just applied, a captured row applied back lost
text, and a value bound to a later frame deleted the rest of the story.
- A text value bound to any frame of threaded text replaces the whole story,
which then flows through the frames again. `overflow` names the story's
last frame.
- Capture Data Set, Update Data Set and the Variables panel's match check
read such a frame as the whole story, frames joined in thread order.
- When any frame of the story is locked, the text value is skipped and
counted in `skipped`, and the story is not read.
- Two text variables bound in one story apply in definition order, as for
two on one object: the one defined last wins.
Docs: docs/mcp.md.
variable.lock's params text and the doc comment on Variables::locked said every
dataset command still runs while the variables are locked. dataset.import is
refused when its header would define a variable; both texts now say so, as
docs/mcp.md and dataset.import's params already do.
Choosing a data set gave a graph variable's CSV to the graph without the
two steps graph.setData takes after new data: rows with neither a label
nor a value were kept and drawn as empty slots, and a right-axis series
the new data no longer had stayed assigned, so a series added by a later
row started on the right axis. The data set now goes through the same
steps.
variable.rename and dataset.rename checked whether newName was taken before
checking that name exists, so renaming a missing name onto a taken one said
the new name already exists. Both now report the missing name first.
Version 7 files write each palette swatch as its paint and `Pc`, with no
name. The reader only kept a swatch with a name before `Pc`, so such a
palette gave no swatches and the document got the default set.
A swatch without a name is now named by its spot color, gradient or
pattern, or by its values in the format the swatch import already uses
for unnamed colors ("Gray K=25", "C=25 M=0 Y=0 K=0"). `Pn` and a `Pc`
with no paint before it add nothing. Named swatches keep their names.
An operator the reader does not know, or a `Pg`, now ends the paint
before it, so a later `(name) Pc` no longer takes that paint. The
swatch limit is kept with a running count instead of summing every
group at each `Pc`.
With a member of a compound path selected, Paste in Front and Paste in Back
put the clipboard's objects next to that member, inside the compound path,
whatever they were. A pasted group, compound path or type object then sat
inside a compound path, which holds only paths. The model-based test
`random_command_sequences` stops on this with "compound #N has a non-path
child".
When the clipboard holds anything other than paths, the objects now go
right above or below the compound path. Paths still go next to the member,
inside the compound path.
A .ai whose editing copy for other apps holds no transparency, while the VectorCraft document it carries holds 50% opacity, opens in VectorCraft with the opacity of the VectorCraft document. Read with native: false, the same file gives the editing copy.
Without `precision` 500 coordinates of every size reopen bit for bit and a
second save writes the same bytes. Halves round away from zero, a closed
path keeps its closing anchor on its first one, a shape smaller than one
step collapses onto one point, coordinates at the edge of the canvas round
to the asked places, and saving a rounded file again at the same precision
writes the same bytes. docs/mcp.md states these rules.
The color sliders now mark the row they edit with `model: "new"`
instead of a dialog-wide flag, and `recolor.apply` reads a row's own
`model` before the command's. Rows the sliders did not edit keep each
color's model, so with RGB art and a CMYK color group, a slider edit of
one row no longer turns the other rows' art CMYK. Another edit of the
row's new color, Reset and rows reduced again remove the mark, and
`recolor.randomize` moves it with its new color.
* ci: run the desktop printing check through the shared gate
print.yml ran its own Windows job, which the CI workflow rules phase out, and each PR saved its
own ~1.3 GB cache. The same commands now run through craft-common-actions' gate.yml on
windows-2022, without craft-fonts, nextest or the wasm target as before. The gate never saves
from a pull request; a manual run on main seeds the cache. storytold/craft-common-actions#118.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* ci: call the shared gate at main
storytold/craft-common-actions#119 is merged, so main's gate takes an empty packages list.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: FredApps <FredApps@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
A dialog opened on a color group or on loose colors no longer offers Tint for a spot color of
the library: OK saves only the new colors, so a tint set there was lost. The row shows the
process modes instead.
The Tint rail and a tinted row's new color chip show a Lab spot color as art linked to it shows
it: the working-CMYK equivalent while the Spot Colors options use CMYK values, with its inks
scaled.
Changing the color count, a Preserve option or Limit to Library rebuilds the rows from the art's colors, which discards a slider edit. The dialog now also forgets that edit, so preview and OK give the art the rebuilt rows' colors in the art's own model instead of the rows' models.
A wheel drag or a harmony rule on the Edit tab now removes a row's tint
when it gives the row another new color, as the color sliders, the hex
field and the Color Picker already do. With Limit to Library, an edit
that snaps back to the row's own color keeps the tint.
recolor.randomize moves each row's tint with its new color when it
shuffles the order, and removes the tint from a color that saturation
and brightness changes.
Brandon Thomas