Hovering the band that moves a modal dialog (New Document's top edge and
tab row, other dialogs' headings) set the grab cursor, which Windows
shows as the four-way move arrows. It now keeps the arrow, as a title
bar does, and shows the grabbing cursor only while the dialog is being
dragged. Dragging still moves the dialog.
links.findFiles hashes files up to MAX_HASHED (1 << 30 bytes) and compares larger ones by size only. The params text, the module doc comment and docs/mcp.md said 1 GB; they now say 1 GiB.
The Snap to Glyph section is drawn after every character attribute, so
in a short panel it appeared out of sight and the menu item seemed to do
nothing; its checkboxes were also dimmed with no way to turn Snap to
Glyph on from there. Choosing Show Snap to Glyph Options now scrolls the
panel to the section, which starts with a Snap to Glyph checkbox
(View > Snap to Glyph) that undims the guide options.
An art style with a Distort & Transform effect opened every object but
type as its drawn look. Objects other than type now open as themselves
with these effects live:
- Any object takes a Tweak that moves nothing and Pucker & Bloat at 0,
beside the effects it already took.
- A path, compound path or group takes Transform without copies, or a
Free Distort whose corners make a parallelogram, when it is the only
effect. Neither the style nor anything in the object may paint with a
gradient or pattern. Everything in the object must be a path, compound
path or group without a clip, an opacity mask or effects of its own.
When Transform scales, rotates or reflects, nothing in the object may
be stroked.
- An unstroked path or compound path whose segments are all straight
takes Twist when it is the only effect.
Other objects keep the drawn look, as do Zig Zag, Pucker & Bloat of
another amount, a Free Distort with other corners and Transform copies.
Docs: docs/file-format-parity.md, docs/target-app-parity.md.
Hovering looks up the bounds of every selected object, and each lookup
went through the memo key check, which compares the whole selection. That
made a hover quadratic in the selection: 1.5 s at 50,000 selected paths.
The walk now checks the key once and shares it across its lookups.
Part of #1280.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A .ai or EPS graphic style library holds graphic styles and their list
in its editing data but no layers, so it came in as its PDF part or
page with the default styles, and Other Library listed those. A file
read as its PDF part or page, because it has no layers or its layers
can't be used, now gets the styles of its list, in list order, as a
file read from its layers does: File > Open shows them in the Graphic
Styles panel and Other Library lists them in a library panel.
Style stroke weights and effects are scaled by the Large Canvas factor
of an EPS, and for a .ai whose editing data is in the units of its
pages by the pages' UserUnit or the declared Large Canvas scale.
Part of #3349
links.findFiles' params text and docs/mcp.md now say that the saved path's
parent-folder steps (.., or the empty components of a classic Mac :: run)
are resolved and that . components in a slash path are skipped before
folder names are compared.
A library colour kept only its values, so a spot colour came back as a
process colour once its document was closed or in a new one. The library
now keeps a spot colour's ink name and tint (in the .vclibrary file too);
library.use links the paint to the document's spot swatch of that name,
adding it when the document has none of that colour, in one undo step.
A spot swatch dropped on the Libraries panel brings its name and tint.
Selecting the object's Opacity row, or a fill's or stroke's, and clicking
Delete Selected Item (or pressing Delete/Backspace, or Remove Item in the
panel menu) now sets that opacity back to Default (100%, Normal) in one
undo step. The button used to be dimmed for these rows.
A saved link path such as `Disk:Projects:Art::photo.png` (classic Mac OS)
or `/old/Projects/Art/../photo.png` names a file in `Projects`. Ranking
the files found compared `Art` first, so a file under a folder named
`Art` came before one under `Projects`. The `::` runs and `..` components
are now resolved before the folder names are compared.
A brush's art is read by a reader of its own, which was given the
patterns defined before it but not the record of which of them use the
version 7 form. A fill in that art with such a pattern then ignored its
offset, scale, rotation, reflection and shear operands, and placed the
tiles by the matrix alone. The brush-art reader now receives that record
as well, so those operands place the tiles. A brush whose art has such a
fill without all nine operands is now not read, as other art the reader
can't read whole isn't; before, the brush was kept.
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).
A thumbnail job that was running when its document closed still sent
its image back, and the image stayed with the worker until a panel next
collected results. ThumbWorker::forget now drops the jobs of the picked
slots, queued or running, and the Layers panel uses it when a document
closes, keeping the same worker. The close test now goes through
File > Close with no panel drawn afterward.
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.
Load Actions… read the whole file before checking the 8 MiB limit, so
picking a very large file could take a lot of memory before it was
refused. A new read_head service reads at most a given number of bytes;
the desktop app provides it, and loading an action set reads one byte
past 8 MiB with it. A larger file is refused without reading the rest.
Hosts without the service keep reading the whole file. Automation
roots apply to read_head as they do to read.
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.
Layer Options › Print off means the layer's art does not print. The Layers panel now paints
that layer's name italic, as Illustrator shows non-printing layers, and the ghost of a row
being dragged keeps the italic. A printing layer's name stays upright, and ticking Print
again restores it.
Row names are painted rather than widgets, so the italics come from a layout job's text
format (egui slants the glyphs itself; no italic face is needed).
Tests: panels::layers::tests::a_layer_that_does_not_print_has_its_name_italic covers Print
off, Print on again, and a plain printing layer; the layers suite (64 tests) passes.
Docs: roadmap, target-app-parity and ui-parity carry the change.
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.
Thanks @el-j — merging.
**Summary:** Pathfinder Trim/Crop (and Merge) now build on `each_classified_face` (generalizing `each_face`) so classification and face construction share one batched pass, dropping the duplicate `batched_classified_contours` after #4375 as @bflatastic asked. Differential tests lock subpath order and the fully-covered shape case.
Floating panels are OS windows of their own, and craft-ui keeps a palette above the
app's other windows while it is active. A modal dialog or an open menu is drawn in
the main window, so a floating panel covered it: the Colour Picker's OK button and
fields, Recolor Artwork, and the menu bar's drop-downs (#5238, defect 1).
While a modal dialog or a menu of the in-window menu bar is open the docking renderer
hides each palette window, and when neither is open each palette shows again at its
palette level: topmost while the app is active, behind other applications' windows
while it is not, as craft-ui leaves a palette it creates. Hiding rather than lowering
covers both: a lowered window can be clicked back to the front, and craft-ui varies
the level through the viewport builder, which egui applies when the window opens and
not to one already on screen, so the commands go explicitly to the windows there are.
The menu bar tells the docking renderer whether one of its top-level menus is open,
the same state its hover switching uses; egui's own "any popup open" misses the
in-window menu bar.
Measured on Windows with the app focused and panels floating: before, a palette was at
the front of the z-order and topmost over the main window with the Colour Picker open;
after, the main window is in front and the palette is hidden until the dialog or menu
closes.
Tests: a_modal_lowers_the_native_palette_windows and
a_menu_of_the_menu_bar_lowers_the_palette_windows check the commands sent, and
a_palette_window_keeps_out_of_the_way_of_the_main_windows_dialog_and_menus the level
and visibility table. The wheel test
`wheel_over_a_floating_character_font_field_changes_the_font` fails on this machine
without this change too (font-order dependent), so it is not part of it.
Each gradient definition that no swatch names took its name by trying
`Gradient`, `Gradient 2`, `Gradient 3`, ... from the start, so a document
with many such gradients tried every earlier name again for each new
one. The writer now keeps the number the next search starts from, and
still skips names that a gradient, swatch or pattern already has.
- A test names 1,000 gradients around two taken names and checks that
each name is tried once (1,002 tries; 502,496 when each search starts
over).
- An export test writes 300 gradients next to a `Gradient 3` swatch and
a `Gradient 7` pattern, and checks the names in order and the same
output when written again. It passes with the old search too.
Don Omondi