Dragging the Control bar's gripper and releasing it within 24 points of
the top (under the menu bar) or the bottom of the window docks the bar
at that edge, as before. Released farther from both edges, the bar now
floats over the window under the pointer, 800 points wide or as wide as
the window, without taking room from the canvas. A floating bar's
gripper moves it or docks it again, and its panel menu keeps Dock to Top
and Dock to Bottom, neither checked while it floats.
- window.control.dock takes edge "float"; a floating bar floats where it
last floated, first at 60, 80 in window points.
- Escape cancels a gripper drag, and a release outside the window leaves
the bar where it was. In a window too short for a floating bar between
the two zones, a release docks it at the nearer edge. A floating bar is
kept inside a window that shrinks.
- Workspaces and preferences keep whether the bar floats and where;
older ones dock it at the edge they name. Menus stop at the window's
bottom while the bar floats.
Docs: docs/mcp.md, docs/target-app-parity.md.
The Color Theme Picker button beside the Assign and Edit tabs turns on
picking from the canvas. A click takes the color palette of the object a
Selection tool click takes there, a drag takes the palette of the art
inside its marquee, and Shift adds more picks. The rows that are not
excluded take the palette as their new colors and the art previews them;
OK keeps the recolor as one undo step.
- recolor.pickTheme {picks, colors?} returns the palette of the art
picked: visible fills and strokes, gradient stops, text, mesh points,
pattern tiles, symbol art, colorize colors and image pixels. Clip
groups, clipping opacity masks and isolation mode limit it to what
shows, and it changes nothing.
- Each object read weighs the same; similar colors merge (k-means in Lab)
into at most `colors`, most used first. Image reads are bounded (65,536
pixels a pick, 1,048,576 pixels and 64 images in all), and past 4,096
distinct colors, close colors merge before clustering.
- The dialog's themePicker and themePicks fields drive it from
ui.dialog.set. A new Colors count keeps the picks.
- Under a perspective, the shared 400,000-element limit of a 3D effect's graphics now counts
what each path draws once mapped: a straight side stays one element, and only curves count
as their 8 pieces. Two copies of a 30,000-sided polygon now both draw. The symbol check
counts the same way, and without a perspective it counts each curve once.
- The Materials tab's handles on the artboard are hidden while a geometry effect (such as
Transform) comes after the 3D effect of a selected object, since that effect draws the
graphics away from the handles.
- A press on the canvas while its context menu is open only closes the menu, and no longer
grabs a graphic's handle.
- A symbol instance inside a graphic's art shows its changes to a dynamic symbol, and a symbol
with 9-slice guides is placed through them, as the canvas draws the instance. Paths that
cross a guide are cut at it.
Pin craft-ui to c4b8405d, which adds a top edge and the canvas-side top
corner to icon-strip flyouts and saves the moved top per group. Accept
its new MoveFlyoutTop docking action, and restore the saved top when a
group returns to its place. A docking regression checks the cursors, an
upward top-edge and free-corner drag with the bottom and icon-column edge
fixed, and the top after reopening and in a saved layout.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Codex <codex@openai.com>
Each 3D facet is stroked with a narrow seam of its own paint (0.05 to
0.75 pt; Revolve's is always 0.75 pt) so neighboring facets meet without
an antialiasing hairline. In Extrude & Bevel, Inflate and Rotate under a
white light, and in every face of the 3D (Classic) effects (Extrude &
Bevel, Rotate and Revolve (Classic); shaded, No Shading, gradient and
pattern alike), that seam kept the default Miter Join with its limit
of 10. Revolve's seams and the colored-light seams
were already round. A facet seen almost edge-on is a sharp sliver, and
its mitered seam reached up to ten times its half-width past the facet's
tip: thorns of up to 3.75 pt past the solid, along the tops of type seen
tilted and at every edge-on bevel facet.
#2706 (multiple lights) deliberately kept white-light seam joins as they
were, so that legacy white-light output stayed byte-identical to main
(its comment "Preserve existing white-light paints, alpha composition and
seam joins exactly", and four PNGs compared byte for byte). That kept
the thorns too. This change reverses that one part on purpose: the
paints and alpha composition stay exactly as #2706 left them; only the
join changes.
- Outputs change, the document model doesn't. Exports draw the new
joins (SVG writes stroke-linejoin="round", PDF and .ai draw round
joins), and Expand Appearance writes round seams into the document.
But nothing a document stores selects the join, and the format is
unchanged, so there is no version gate: an old file drawn now simply
has no thorns.
- Round joins. Projected facets rarely have right-angle corners (a
square seen at an angle is a parallelogram with acute corners, and an
exact 90° corner sits at a √2 limit), and round is what the seams of
colored lights and Revolve already draw. The cost: where a facet has
no neighbor (Rotate's plane, every silhouette corner) its convex
corners are drawn rounded by up to 0.375 pt instead of sharp.
Alternatives weighed and not taken: a Miter Join with a limit near √2
at every seam, the composed clip included, which would bevel slivers
but chamfer most projected corners as well; and seaming only the edges
facets share, or clipping facets to their union as solid_surface
does, which would keep every outer corner sharp but means a new
geometry pass for every 3D effect. Round is the smallest change that
matches the seams already drawn.
- A seam no longer reaches past its facet by more than half its width,
so the art's visual bounds shrink by up to 3.375 pt where a thorn
stood (10 × 0.375 less the 0.375 a round seam still reaches).
White-light output is no longer byte-identical to #2706's comparison;
docs/3d-lighting-performance.md says so.
Every seam stroke is made by lighting::seam_stroke. The colored clip in
composed_art already outlined its seam with round joins and is
unchanged. Tests: every seam of Extrude & Bevel, Extrude & Bevel (Classic, each
branch), Rotate (Classic), Inflate and Rotate, under white and colored
light, has round joins and reaches no more than half its width past its
face, at views that make a sliver; Revolve (Classic)'s seams are round
on each surface; a mitered seam fails them, and so does the legacy
white-light Inflate test, which now expects Round.
The Brushes rows name each type as the New Brush dialog does (Art Brush,
Scatter Brush) and say "missing from the Brushes panel" for a brush the
panel does not hold. The panel now shows these values through the
catalogs, so a localized interface no longer shows them in English.
document.info and the saved report keep them in English. Every catalog
gets a row for "missing from the Brushes panel"; the type names already
had rows.
Remove Background refused a grayscale image colorized with a process
color by looking at the pixels the image shows. With a color mask whose
masked pixels are not gray, as an opened file can hold, the check let
the image through, and the gray pixels it cleared took an alpha channel
under the process color. The check now reads the image's own pixels,
which are the ones cleared.
docs/mcp.md and the Color Mask line in docs/target-app-parity.md now say
that a mask that hides no pixels leaves a grayscale image free to take a
process color.
View > Proof Setup > Working CMYK simulates the working CMYK space of
Color Settings in Proof Colors and Separations Preview, also in a
document assigned another CMYK profile. The active context keeps the
working context beside the assigned profiles, and the proof table cache
key includes the working settings, so a change of the working CMYK space
shows in the next proof.
A weeding line at v0 + k*step can round just past the edge of an outline
segment that lies on it: across 0.1 to 0.5 the one line sits at
0.30000000000000004, and (0.30000000000000004 - 0.1) / 0.2 is
1.0000000000000002. The candidate range for that segment then came out
empty, so the line was not stopped there and ran over the art's edge.
The candidate range is now widened by a small tolerance before rounding;
`near` still leaves out lines the segment does not meet.
docs/mcp.md and the params text of `addon.cutting.weed` now state the
`spacing` range (more than 0, at most 100000 pt), the 1000-line limit
each way, and that a request giving both `count` and `spacing` is
refused.
A spot-colored fill or stroke whose opacity is 0 prints no ink, but
Spot Color Objects still listed its object and objects.spots counted
it. Such fills and strokes are now left out; an object stays listed
while another of its fills or strokes prints the spot color. Pattern
Objects and Gradient Objects are unchanged.
With automation read roots in force, document.json returned each entry of
svg_scripts unchanged, so a JavaScript file linked from outside the read
roots kept its full path in the reply. The reply copy now names such a
file by its file name alone. An entry given as a URL is kept, and the
stored document is not changed.
- object.expand.info reports no gradient or fill to expand for a
gradient that repeats in more runs across its box than are written,
matching object.expand, which leaves it a gradient. For a path that a
painting live effect draws, it measures each piece the effect returns.
- CSS writes a repeating gradient's stop positions, and a repeating
radial gradient's radius, with enough decimals that their rounding
adds up to at most a hundredth of a period across the box (at least
four for positions and three for the radius).
- docs/mcp.md says that sharp steps and swatch-linked stops are the last
to be left out rather than always kept, and that the CSS conic limit
counts stops before midpoints and Perceptual curves add more.
dotCooCoo