- addon.arrange.randomizeOpacity, type.orientation.vertical and .horizontal,
type.opticalMarginAlignment, type.systemLayout and type.fractionalWidths
run through edit_if_changed (the Edit Colors helper) and record an undo step
only when an opacity, a direction or a setting changes.
- A test for each command; the params text says so, and docs/mcp.md for the
commands it describes.
Remove Breaks, Break Text, Combine Point Text, Join Point Text, Set
Alignment, Keep Position and Reset Text Transform skipped locked and
hidden type even when `ids` named it, or named the group or layer
holding it, while other commands such as text.convertListToText act on
named locked or hidden objects.
- With `ids`, the type they name is taken locked or hidden too (not
type on a locked artboard); from the selection, only type that can
be edited, as before.
- Remove Breaks reads a named threaded story with a locked frame as one
text.
- Objects made from locked or hidden type are not selected.
Docs: docs/mcp.md (Text tools), docs/target-app-parity.md.
A freeform gradient's image was sampled, encoded and written inline at
every fill, outside the reuse placed images have. Fields now go through
the same codes and placements: a fill whose encoded image (color setup,
image dictionary, filter, operator and samples) matches one already
kept draws from it, so its samples are written once in the setup as
VCim<i>. A field drawn once is still written where it is drawn.
A fill whose placement can't be drawn, or that arrives when the page is
already at the 256 MB limit, is no longer sampled first, and a field
image taken back with art that passed the limit is forgotten.
Revolve sorted its faces by the depth of each face's middle only, so a
tilted profile with long edges, or a profile of several contours, could
draw a nearer face under a farther one where the two overlap.
- A revolved face carries its view-space plane (none when its corners lie
off one plane or reach the eye), and Revolve (Classic)'s facets keep it.
- Revolve and Revolve (Classic) put each surface's faces through the local
depth order Extrude & Bevel uses for its fill and strokes: when two
overlapping faces are drawn the wrong way round, every pair of
overlapping faces goes in the order of their depths at the middle of the
overlap, within the same 4,000,000-comparison limit. A surface already
in the right order keeps it.
- A group's members, sorted together by depth, go through the same order
across members.
Docs: docs/revolve.md, docs/effects-parity.md, docs/target-app-parity.md.
graphicStyle.new linked the object it was made from, the art of a column
or marker design in a graph series included, and graphicStyle.redefine
gave the new look to every object still linked to the style. Redefining
the style from another object then restyled that art, which the graph
draws again from the design.
- graphicStyle.new makes a style from the art without linking it.
- graphicStyle.redefine leaves the art's look as it was and unlinks it,
as an edited object is, whether the art is a linked object (as in a
document saved before this change) or the source.
Docs: docs/mcp.md, the params text of graphicStyle.new and
graphicStyle.redefine.
A gradient vector drawn on the art, a click that applies one, and the
dragged start and end handles snapped through snap_draw, which gathers
the bounds and anchors of the art only. Path segments, View › Snap to
Glyph's guides and the construction guides through the vector's start
did not pull them, and a click applied the gradient from the pointer
rather than from the snapped point. They now snap through DrawSnap, as
the Pen and Line Segment tools do:
- The press gathers the targets, for a vector drawn on the art and the
start and end handles only, and the drag keeps them. A click applies
the gradient from the snapped press.
- A dragged end or handle leaves its start as a Line Segment's end does:
it lands on the construction guides through the start, and with Shift
it keeps to 45° steps from the Constrain Angle and snaps along them.
- The pointer hovering where a press would draw a vector (anywhere with
art selected, over art with nothing selected), and not over the
annotator, shows the guides of the point the vector would start on.
A press that snaps onto a nearby target no longer starts the drag
early: the 3 px drag threshold counts from where the pointer was
pressed, not from the snapped start.
The palette listed the Layers panel's Delete Selection twice: as
Window › Layers › Delete Selection, which ran layer.delete and deleted a
layer holding art without asking, and as a bare Delete Selection, which
ran ui.layerDelete and asked first.
- The palette now lists one Window › Layers › Delete Selection result,
which runs ui.layerDelete, so a pick asks before deleting a layer or
sublayer that holds art. Scripts and the control channel still run
layer.delete at once.
- New Brush…, Brush Options…, Symbol Options…, Import SVG Filter… and
Convert to Text were also listed twice under the same name, once as
the engine command, which the palette ran with no params. Each is now
listed once, as the UI command that opens its dialog or file chooser
or acts on the edited paragraphs.
- A search for a wrapped engine command's id or menu path still finds
the one result.
Docs: docs/target-app-parity.md (Layers panel deletion).
A <tspan>, <textPath> or <a> inside a <text> whose unicode-bidi is embed
now gives its characters its direction as their Character Direction. An
element with normal stays in its parent's embedding, unicode-bidi is not
inherited (inherit takes the parent's value), and the <text> keeps its
own paragraph direction. A run that SVG export writes with direction and
unicode-bidi="embed" now opens with its Character Direction again.
Character Direction holds one level of embedding and no override or
isolation, so bidi-override, isolate and isolate-override are imported
as embeddings in their direction, plaintext as an embedding in the
direction of its first strong character, and an embedding inside
another as an embedding of its own, each with an import warning.
unicode-bidi: plaintext on the <text> runs and anchors each paragraph
in the direction of its first strong character.
https://www.w3.org/TR/SVG11/text.html#RelationshipWithBi-directionalityhttps://www.w3.org/TR/css-writing-modes-3/#unicode-bidi
Type whose color bitmap glyphs fit under the page limit, but whose run
fill passes it, is left out together with the image placements of its
glyphs. The new test builds the color font in memory and checks that
the page then equals the page without that type: no reference or shared
resource is left for the glyph image, a glyph drawn once elsewhere is
written inline again, and an image drawn twice keeps its shared samples.
untranslated_report lists 167 status and error messages that no
complete-message catalog translates. zh-hans.tsv gains 114 @msg rows for
the ones no open pull request covers: 3D and Revolve limits, image export
and encoding errors, color profiles, color books and swatch exchange
files, binary DXF and DWG import, path operations, swatch, graphic style
and action set libraries, and zip, script and regular expression errors.
Placeholders, backticked names, command ids and listed values stay as the
English writes them.
The other 53 (composite fonts, SVG filters, read roots and graph design)
are left to #7211, #7378 and #7405. docs/localization-parity.md and
docs/target-app-parity.md give the new counts: 3,554 @msg rows, and 55
messages the report lists for zh-hans, all of them translated by open
pull requests.
A graph keeps paints for its series and labels, and character and
paragraph style names for its labels, which each redraw gives the
marks and labels. Copy did not follow them, so a graph pasted into
another document left those swatches and styles behind, and a paste
that renamed them left the graph pointing at the old names.
Copy now collects them and paste relinks them, as it does for type.
Paste without Formatting drops the labels' style names, so it still
leaves text styles behind.
On the core Wayland clipboard, a read waited for the app that copied to
close its pipe, and a send wrote until the app that pastes took all of
the data. An app that left its pipe open and stopped held the one read
worker, so later pastes failed at once, or held one of the eight send
threads until it closed its end.
Reads and sends now use the pipe nonblocking and wait for it with poll.
When no byte moves for 2 s (VectorCraft's own limit, the existing text
wait) the read fails without pasting partial data and the send stops;
both close their pipe. The wait starts again after each byte that moves,
so a large transfer that keeps going is not cut short.
Quitting can wait up to 27 s for the clipboard handles to let go before
eframe closes the windows. winit cannot hide a native Wayland window, so
the main window stayed on screen for that wait, and the X11 windows of
floating panels and documents were not hidden at all.
- A native Wayland main window is unmapped by attaching no buffer to its
surface. The window and its connection stay open for the Wayland
clipboard. An X11 main window, XWayland included, is hidden as before.
- On Linux the X11 windows of floating panels and documents are recorded
as eframe creates and drops them (viewport hooks), and quitting unmaps
them through a second X11 connection before the wait.
- The new module apps/vectorcraft/src/quit_windows.rs replaces
app::hide_before_teardown, with tests of which windows are hidden or
unmapped. portal_save's Wayland surface helper is shared with it.
A raster effect (Drop Shadow, Outer Glow, Gaussian Blur and the other
effects that paint pixels) on a symbol instance's topmost fill now draws
on each filled shape of the symbol's art, and one on its topmost stroke
draws on each stroked shape, after any geometry effects listed before
it. The same rules as for geometry effects apply: only a visible fill or
stroke with an opacity above 0 counts, a group's own fills and strokes
in the art take the effect, and an instance inside the art passes it on.
The canvas, Use Preview Bounds and the drawn bounds, SVG and PDF export
draw it, and Object > Expand Appearance is enabled for such an instance:
a shadow or glow becomes an image under the instance, and a blur,
feather or inner glow replaces it with the image, in one undo step.
Existing documents with a raster effect on a symbol instance's fill or
stroke draw differently: before, the effect drew nothing.
Character panel > Tsume, shown with Show East Asian Options, takes away a
percentage of the blank space on each side of a character's ink, inside
its own width, in horizontal type. The value is from 0 to 100, 0 by
default. 50 halves that space and 100 sets the ink against the
characters before and after it; the glyph keeps its shape. A character
without ink, such as a space, keeps its width, and a ligature or a
letter with its marks takes the value of its first character. The
font's pair kerning, tracking, manual kerning and Insert Aki are added
after it, and justification keeps it. Vertical type keeps its spacing.
- text.setFormat and text.setRangeStyle take `tsume`; a value that is
not a number or is outside 0 to 100 is refused, naming the key.
Character styles carry it, and a file holding a value outside the
range opens with the nearer end.
- The Character panel's Tsume field has 0, 25, 50, 75 and 100 in its
menu, and Reset Panel sets it to 0. Character Style Options shows it
in Advanced Character Formats.
- Live SVG text places each character Tsume moves, and type on a path
with Tsume is written as outlines.
Docs: docs/mcp.md (Tsume, Character Style Options fields),
docs/target-app-parity.md.
The centre-lines class gains a mixed-width body scene: one disc of radius
24 px with arms of 2, 3 and 5 px that start inside it, Stroke 6 px, and no
other ink. A test checks that the scene is one connected shape and that
both the anti-aliased and hard input trace as one fill and three strokes
that reach all three free ends.
docs/image-trace-quality.md's centre-lines section is measured again on
current main (24 scenes, two runs identical in every column but ms). The
new scene finds 100.0% of its arms with 99.3% / 98.3% of the disc filled;
mix now traces as 6+3 paths with 99.9% / 99.8% found and 7/7 ends, where
the earlier whole-blob rows showed 3+1, 57.3% and 6/7. All other rows
are unchanged except ms.
A paragraph whose characters differ in line metrics, in area type that is
not a rectangle or that wraps around an object, was broken line by line
with the Single-line Composer when the frame could not hold all of it.
The lines the frame holds are now composed with the whole paragraph: a
line the frame has no room for, and every line after it, is measured as
wide as the span of the last line set in the frame, less its indents.
Those lines overflow, or go on in the next threaded frame, which composes
them again at its own widths. A paragraph whose first line has no room,
and a search that passes its limits, still fall back to Single-line.
Docs: docs/mcp.md, docs/target-app-parity.md.
document.exportSelection run with no params or {} (a shortcut, or an
automation call) wrote the picked file straight away with each format's
defaults: a PDF used the default preset, so Save PDF's options, such as
writing long pages in points, could not be chosen. It now takes Export
As's route after the save panel: Save PDF without its Artboards
section, SVG Options without its artboards, the raster options, EPS
Options, DXF Options, Text Export Options with Selection Only on, or an
exporter plug-in's parameters. OK writes the selection alone, cropped
to it, with the chosen options. While a dialog is open the call returns
null, and OK returns what file.exportAs returns, without format or
bounds.
With a path or any option it still writes straight away.
- file.exportAs takes exportSelection: true and then writes the
document that document.exportSelection writes
(fileio::selection_doc), without artboard choices. The options
dialogs and the replace-file questions pass it on.
- Nothing selected stops before the save panel.
- SVG Options opened by Export Selection leaves the remembered Use
Artboards as it was.
- Exports through file.exportAs (Export As and the options dialogs)
apply Appearance of Black's rich black, as document.export does.
Docs: docs/mcp.md, docs/control-protocol.md, docs/target-app-parity.md.
A gradient stop that loses its link to a spot swatch kept the process
plates it printed with that ink, so it carried a DeviceN mix with no
ink. Paint::map_links, which deleting a swatch, recoloring and color
adjustments go through, now clears a stop's plates whenever it leaves
the stop without a link, as GradientStop::set_color(color, None)
already does. Library gradients and library character styles linked
to a swatch the document lacks unlink their stops the same way.
Docs: docs/target-app-parity.md.
The development guide and the progress doc now name all 23 languages in
COMPLETE_MESSAGES: Hindi was missing from the first, and Georgian, Hindi,
Turkish and Catalan from the second. The localization summary adds
Bosnian to the languages marked full that are not in the list.
The untranslated report listed 167 status and error messages that no
complete-message catalog translated. pt-br.tsv now has an @msg row for
the 114 of them that no open pull request already translates: messages
of the 3D and Revolve effects, the image encoders, color profiles, swatch
exchange files, color books and DXF import. Placeholders, parameter names
and literal values stay as the English writes them.
The other 53 (composite font, SVG filter, read root and graph design
messages) are translated by open #7211, #7378 and #7405; adding them here
too would make bundled_catalogs_are_consistent fail on a duplicate row
once those merge.
The continuous-tone check exempts a neutral or single-curve picture when
sixteen colors leave at most a fifth of the error of eight, but only
applied the exemption below the 0.1 ratio. Clean gray, sepia, single-hue
and duotone art of 10 to 16 evenly spaced levels lands above it, so it
was smoothed before tracing. The exemption now applies in both branches.
At 16 Colors, 12 sepia and 16 gray or sepia levels crossed by 1 px lines
keep every region the lines cut, and Automatic traces 16 clean sepia
levels in 9 colors instead of 4. Art in several unrelated colors is
unaffected.
A clipping path with Roughen, Transform or another effect that reshapes
a path drew its own fill and stroke reshaped, but the canvas and raster
export still clipped the art by the plain path. SVG and PDF export bake
the effect into the path before writing the clip path, so the screen
and a saved SVG showed different art.
effects::clip_outline now applies the live geometry effects in the
clipping path before taking its region: the path's or compound path's
own effects, the effects of its fills and strokes (the region is then
the union of the paths they give, as an export bakes them), the effects
of a compound path's paths, of a group's visible members and of a
nested clip group's clipping path, shown or hidden, and a group's own
effects as an export evaluates them. Raster effects such as Gaussian
Blur leave the region as it is. The renderer, the engine commands that
measure a clip region (flatten, arrowheads, cutting) and the writers use
it; the writers receive the baked document, so their output for a path
with effects does not change.
The renderer measures a clip group by the region its clipping path's
effects give it, so a view or tile that shows only the moved part of
the clip still draws the clipped art, and it drops cached clip regions
that hold a plug-in effect when plug-ins change.
Two rules change in every export as well as on the canvas:
- When the clip group, or a group around it, has a geometry effect of
its own, the clipping path's effects apply first and its gradients
move with them. #7114 left the clipping path's effects live under the
group's effect, so they applied after it.
- Type used as a clipping path keeps its own effects when a group's
effect outlines it. #2073 and #2290 outlined it without them, to
match the plain clip the canvas drew.
The script module docs, the script.run params text and the evidence line now
say that $.fileName in code that eval or Function compiled gives the file
being run, and the params text says that the empty name applies to code
compiled from a script given as text.
Two windows or processes using one Plug-ins folder could interleave their
writes: an install from one could leave its module with the other's grant,
a grant written for one plug-in could drop one written for another, and
plug-in settings and cache changes could lose each other's keys or pass the
cache caps together.
Each change to the folder now runs in one turn on disabled.lock, the file
the disabled list was already locked with:
- plugin.install takes the turn before it reads the stored grants and holds
it through the module, grant, put-back and disabled-list writes;
plugin.remove holds it through grant removal and storage deletion.
- Grant writes, the disabled list, loading the folder, and the plug-ins'
settings and cache changes read and write in a turn.
- When disabled.lock can't be locked, plugin.install and plugin.remove fail
and change nothing, plugin.setEnabled keeps its change in the process, and
loading the folder writes nothing to it.
Docs: docs/plugins.md, docs/mcp.md, the plugin.install and plugin.remove
params text, docs/target-app-parity.md.
The French row of docs/localization-parity.md gave the counts on 92594378a. After main was merged in, fr.tsv holds 9,166 rows, 3,436 of them @msg and 48 @msgplural, and the untranslated report lists 178 missing French messages: 11 for French alone and 167 that main added for every language.
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