Opening a JPEG now estimates the quality it was saved at from its quantisation
tables (the Annex K tables of ITU-T T.81 scaled by the IJG quality curve; exact
for such tables, the closest fit otherwise). Opening a WebP records whether it
is lossless (VP8L) or lossy (VP8), and a lossy one's quality from its base
quantiser index. The settings live on the document (`Document::file_encoding`,
saved in .pcraft) and a save that asks for no quality writes the file back the
same way, as Photoshop's Save does: File › Save, Save As and Save a Copy start
there instead of the fixed codec defaults (quality 90, WebP always lossless).
An explicit quality still wins; new documents and other formats keep the
defaults. Hostile or truncated DQT/VP8 headers give no estimate, never a panic.
Refs #2399
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* fix(ui): correct the clipping-mask indicator orientation
* Drop the before/after screenshots from the repository
Docs screenshots stay out of the tree; the PR description keeps them.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
physical_memory() had no Windows implementation, so the wgpu
compositor's budget capped layer textures at a quarter of an assumed
16 GB on every Windows machine: too little on a large one (4 GB of a
62 GB PC's 8 GB Memory Usage allowance) and too much on an 8 GB laptop
whose integrated GPU shares that RAM. Read it with GlobalMemoryStatusEx
through winsafe, the safe binding the desktop app already uses (same
pinned version, kernel feature only).
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* feat(codecs): decode every frame of an animated GIF (#572)
decode_gif_frames returns each frame composited onto the logical screen
(disposal methods applied) with its delay in milliseconds. decode still
keeps the first frame only. A damaged later frame keeps the frames before
it and marks the first with DecodeWarning::Truncated; dimensions, the
total decoded bytes and a frame cap are checked against the limits.
* feat(io): import_gif_frames hands each GIF frame over as a document (#572)
A frame at a time becomes a single-layer document, so a caller can
flatten and drop it instead of holding every frame twice.
* feat(engine): animated GIFs load every frame into video layers (#572)
New Video Layer from File, Replace Footage, Reload Frame and Video Frames
to Layers take all frames of a GIF instead of the first. The timeline rate
comes from the GIF's delays (the most common one, delays under 20 ms shown
at 100 ms as browsers do); an explicit fps still wins.
* docs: animated GIF frames in video layers (#572)
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Tools: Shift key switches tools by default, as in Photoshop (#3525)
Use Shift Key for Tool Switch is on by default in Photoshop: T keeps the
current tool, Shift+T cycles. Saved settings keep their stored value.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Tests: the M-key marquee cycling test sends Shift+M, the new default (#3296)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* feat(engine): accept Photoshop units for guide positions
view.newGuide and view.moveGuide take the position as before (a number
of pixels) or as text with a unit, as Photoshop's New Guide dialog does:
"50%", "2.5 cm", "1in", "12pt", "3pc", "100px". Percent is of the
document's width for a vertical guide and its height for a horizontal
one; points and picas follow Units & Rulers › Point Size. Fractional
positions are kept. Text that isn't a length, NaN and positions beyond
1,000,000 px are refused without recording a history step.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* feat(engine): guides can have their own colour
Photoshop's New Guide sets a colour per guide; PhotoCraft guides only had
the Preferences guide colour. Guides now keep optional colours, keyed by
orientation and position so code that drops or reorders guide positions
(crop, artboards, guide layouts) can never move a colour onto another
guide: an unmatched guide just uses the preference colour.
view.newGuide takes an optional "color": a name from New Guide's list
(lightBlue, lightRed, green, mediumBlue, yellow, magenta, cyan, lightGray,
black) or "#rrggbb". Without one the guide uses the preference colour, as
guides dragged from the rulers always have. Moving a guide carries its
colour; deleting and clearing drop it (Clear Guides, Clear Canvas Guides,
Clear Selected Artboard Guides and New Guide Layout's Clear Existing
Guides alike); undo restores it. Guides are drawn in their own colour
(while New Guide Layout previews, the rest show the colour it will set), and .pcraft files keep it (omitted when no guide has
one, so older readers and files are unaffected). PSD export keeps guide
positions only.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* feat(ui): Photoshop's New Guide dialog: units and colour
View › Guides › New Guide… was the generic schema dialog, whose position
field was whole pixels only and had no colour. It now has its own
dialog, as in Photoshop:
- Position opens in the ruler unit ("0 cm") and takes any unit
Photoshop's field takes ("50%", "2.5 cm", "12 pt"); a bare number is
in the ruler unit. The last guide reopens in whatever the ruler unit
is then ("5.08 cm").
- Color lists Custom…, Light Blue, Light Red, Green, Medium Blue,
Yellow, Magenta, Cyan (the default), Light Gray and Black. Custom…
shows a swatch that opens the Color Picker. The guide stores the
chosen colour itself, so a later change of the preference guide
colour leaves it alone.
- A position the engine refuses reopens the dialog with what was typed
and the engine's message, as Photoshop keeps New Guide open.
Light Blue, Light Red, Medium Blue and Light Gray are new to the
catalogues; they were translated for all 16 languages from the existing
colour terms in each and would benefit from native review.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* refactor(engine): one unit-suffix table for typed lengths
New Guide's position field (Unit::parse_length) and the Crop tool's size
fields (crop_size::unit_of) each kept the same table of unit suffixes.
Unit::from_suffix is now the one table: px, in or ", cm, mm, pt, pc or
pica, % and their long forms, in any case. The crop fields keep their own
number parsing (they accept arithmetic) and still refuse percent; they now
also accept "pc" for picas.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* feat(ui): New Guide and New Guide Layout share one colour list
New Guide Layout (#2930) offered five colours of its own; New Guide offers
Photoshop's nine. Both dialogs now list the same nine (GUIDE_COLORS), in
Photoshop's order and with the same translated names. Cyan (#4affff, the
default guide colour), Magenta (#ff00ff) and Yellow (#ffcc00) take New
Guide Layout's values; Light Blue, Light Red, Green, Medium Blue, Light
Gray and Black keep New Guide's. New Guide Layout's Blue (#378ef0) and
jade Green (#00a86b) give way to Photoshop's Light Blue and Green; a colour
outside the list still shows as Custom.
GUIDE_COLORS drops its unused label column (the dialogs translate the
names), and New Guide Layout reads "#rrggbb" with prefs::parse_hex instead
of its own copy (rulers::parse_guide_color).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Part of #2966. The History panel's camera button takes a named snapshot
of the document ("Snapshot N", not a history state). Snapshots are
listed under the opening state with a thumbnail and scroll with the
states; clicking one returns the document to it as one new, undoable
state named after it. A double-click or right-click › Rename… renames
it in place, and right-click › Delete removes it. Snapshots live for the
session only, as in Photoshop.
For agents: history.newSnapshot {name?, from?: fullDocument |
mergedLayers | currentLayer}, history.selectSnapshot, renameSnapshot and
deleteSnapshot, addressed by ids that are never reused, and doc.inspect
reports snapshots.
PSD export always wrote a document-level Txt2 block, and for a fresh document its
document-resources dictionary (/0) was the empty `<< >>` Photoshop never writes. Photopea's
reader fails on it ("Cannot read properties of undefined (reading '_Resources')"), so a PSD
saved with a new type layer stopped opening there.
Write the block only when it carries something: the file already had one (round-trip its pen
positions and extras), or a layer uses the Optical auto-kern mode - the one mode EngineData's
AutoKerning cannot distinguish (#1348). A plain Metrics document now writes no block, as 0.3.0
did.
Tests: text needs_txt2_only_for_optical; io fresh_metrics_text_writes_no_txt2_block.
* Content-Aware tools: faster, cancellable at once, same pixels
#2202 matched Photoshop's Content-Aware Fill but made the perf nightly slower (#2575): P21
Content-Aware Fill 10 MP 5x, P22 Spot Healing 2.4x, P49 cancel on 24 MP 4x and over its 200 ms
budget. This keeps every result bit for bit and takes the time back:
- The solver works over the hole's bounds grown by a patch: match field, costs, votes and the
per-target tables are kept there (nothing outside changes or is matched), the vote computes
each target's weight once and writes into a buffer instead of a Vec per pixel.
- Colour adaptation reuses each patch's own moments (target sums kept per EM step, source sums
per level where they pay off), summed in the same order as before.
- Exact early outs: SSD per pixel instead of per row (callers only ask "better?"), and the onion
peel's exhaustive search starts from where the filled neighbours took their sources and stops a
source once it can only lose (first-of-equals kept).
- PatchMatch sweeps a band in wavefronts of blocks when there are fewer bands than threads: each
cell sees the same neighbours and random numbers (SplitMix64 skip) as in raster order.
- Parallel pyramid, valid-source and target setup; no copy of the window when there are no
variants (fill_owned / complete_masked_owned); the job reads the window in parallel bands and
keeps only the selection's bounds for the apply step.
- Cancellation is checked per row everywhere, also in Auto sampling and in its max flow
(maxflow_with / grid_cut_cancellable): a 24 MP job now stops in tens of milliseconds.
- algo::par: rayon on native, sequential on wasm.
Proof: the new `content_aware_bench` example hashes every tool's output (Fill with each sampling
and adaptation option, Edit > Fill, Delete and Fill, Spot Healing x3, Patch, Content-Aware Move,
8/16/32-bit, Gray/CMYK/Lab, and the benchmarks' 10 and 24 MP fills): 117 hashes identical to
main, also with 1, 2 and 4 threads. New tests compare the onion peel with a plain scan, full and
clipped patch distances and moments, the valid-source runs with the summed-area test, thread
counts 1/3/16, in-place and copied fills, and cancellation of Auto sampling and max flow.
perf_scenarios --cpu, Ryzen 7 5800X shared with other work (load 4-7), 3 interleaved rounds:
P21 p50 295-306 -> 167-171 ms (max 342-362 -> 180-184); P22 p50 67-68 -> 38-40 ms (max 69-71 ->
40-41); P49 max 378-389 -> 54-77 ms (p50 94-110 -> 47). retouch_bench: Content-Aware Move
-47..-64 %, Spot Healing Content-Aware -40..-61 %.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Content-Aware: faster Spot Healing dabs than main with #2805, same pixels
Against main with #2805 the branch was slower for small Spot Healing dabs (size 50:
+25-30 %, single-threaded +60 %): its onion peel walked all 49 offsets of every candidate patch,
checking each against the known pixels, and had no bound at the hole's edge.
- Onion peel: the target's known pixels are gathered once (#2805), the search starts from the
filled neighbours' shifted sources or every 16th source at the hole's edge (#2805), the limit
a candidate must stay under is a precomputed sum (no division per pixel), and candidates are
summed four at a time in step: their sums are independent, so the processor overlaps them.
Each is still given up only against the best from before the four, which can only improve.
- Vote: each target's weight and match centre are taken once; a pixel's patches are visited
over the clipped offset range, with the channel count and the colour adaptation fixed at
compile time. Same sums, same order.
- Valid sources: sliding counts per row and stacked runs per column instead of a 7-row check
per pixel; the k-th source is found through per-row and per-64-column counts, so no level
but the coarsest lists them all.
- `integral` stays out of line: inlined into `synthesize` it made Create Texture slower.
Same results: `content_aware_bench -- hash` (112 cases) and `-- hash-big` (the benchmarks' 10 and
24 MP fills) equal main's, also with 1 and 3 threads; the onion peel tests (#2805's and ours)
compare with the plain scan. `content_aware_bench bench spot` runs retouch_bench's Spot Healing
dabs; with `CAF_SPOT_TYPE` (comma-separated) other types, with page faults per dab.
Ryzen 7 5800X, shared (load 5-20), interleaved with main (3af4c46a), min of rounds,
retouch_bench, all threads / one thread:
Spot Healing Content-Aware 50: 49 -> 31 / 204 -> 117 ms; 100: 62 -> 35 / 164 -> 98 ms;
200: 118 -> 67 / 250 -> 158 ms; 300: 212 -> 119 / 411 -> 285 ms. Content-Aware Move -47..-62 %
(one thread -23..-45 %). Rows that don't run this code stay within noise, except Proximity
Match 200 after the Content-Aware dabs in the same process (+8..23 %): it takes ~5800 page
faults there against ~300 on main, because main's heavier dabs left more of the heap faulted
in; alone, or after Content-Aware dabs in `bench spot`, it is equal.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Brush and Pencil: hold ~ to erase
Fixes#3439. Holding ~ (the backtick key) with the Brush or Pencil makes
the strokes started while it is held erase, with that tool's own brush,
as in Photoshop; releasing it paints again and the tool never changes.
The key is a Tools › Temporary binding (tools.temporary.erase), so it
can be rebound or removed in Keyboard Shortcuts.
* Brush and Pencil: Clear painting mode, used by ~
Photoshop's Clear joins the Brush's and Pencil's Mode menus, after
Dissolve: chosen there, every stroke erases with that tool's brush until
another mode is picked. Holding ~ now puts the stroke in Clear mode too,
and the Mode menu shows Clear while the key is held. History names the
tool rather than the Eraser. Agents get it as "mode": "clear" on
paint.stroke and paint.pencil.
* Keep the Smoothing doc comment on smoothing_field
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
The 15 warp presets (Edit > Transform > Warp, smart object warps, Warp
Text) were our own closed-form approximations, up to 70 px off
Photoshop's: Arc kept its centre fixed and pulled the ends in where
Photoshop keeps the inner edge's corners and raises the middle, Flag
waved the wrong way at a third of the height, Squeeze shrank instead of
pinching.
Measured on Photoshop 27.11 (scripted renders of a grid image whose
colours encode each pixel's position, 102 cases: every preset at bend
±50 and ±100, both distortions, vertical orientation, square, wide and
tall boxes), every preset is a single bicubic Bezier patch (fits within
0.5 px). Its control grid:
- Arc: each row a circular arc of b·π around one centre, the inner edge
keeping its chord; Arch, Bulge, Arc Lower/Upper and Shell built from
the same arcs. Circular in pixels on any box.
- Flag, Wave, Fish, Rise, Fisheye, Inflate, Squeeze, Twist: control
points moved linearly with the bend, in box units.
- Vertical distortion scales the top and bottom rows about their
midpoints and blends the rows between; horizontal distortion scales
each column. Vertical orientation swaps the axes and the two
distortions.
All 102 cases land within 1 px (median) of Photoshop. On the corpus's
Photoshop-made warped text, warp-arc-50 now spans 340x85 at (-3, 3)
against Photoshop's 350x88 at (-7, 3), where it was 278x74 at (28, 62).
Presets also convert to custom meshes exactly now (to_mesh splits the
patch instead of fitting). Tests that pinned the old shapes now assert
Photoshop's; presets_match_photoshop checks measured points.
Still open: Warp Text warps over our line box, while Photoshop uses the
type layer's stored `bounds`; with those the five corpus warp files land
within a few px (arc, flag, bulge with distortion, twist, vertical rise).
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Background saves only ever reported 0 % ("Encoding", then "Writing"), because
photocraft_io::export produced all the bytes in one call: the status bar showed an
indeterminate bar and no percentage. Now:
- photocraft_io::export_with(doc, name, opts, &Interrupt) reports encoding progress
(export keeps its signature and calls it with Interrupt::NONE, same bytes): PSD/PSB
per layer record and per composite band, layered TIFF the same plus its encoder
stages, .pcraft after its previews, flat formats once the composite is rendered.
Cancelling stops the conversion early and returns IoError::Cancelled.
- photocraft_format::atomic_write_progress writes in 8 MiB chunks and reports the
fraction written.
- The desktop save maps encoding to 0..85 % and writing to 85..99 %, 100 % once the
file is flushed and renamed.
- The status bar reads "Saving 45%" for a save (file name on hover), and the
document's tab title gets " - Saving 45%" in both tab strips, as in Photoshop.
Percentages round down so 100 % only shows when done.
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Color Balance added a share of each slider weighted by the pixel's
lightness, then (Preserve Luminosity) rescaled to the old luma. On the
corpus's Photoshop-made file (photoshop/adjustments/rgb8/color-balance.psd,
all three tones moved, Preserve Luminosity on) that was up to 43 levels
off on 99% of the pixels.
Measured on Photoshop 27.11 (scripted: a gray ramp and 16 pure colours
through each slider at ±25, ±50 and ±100, with Preserve Luminosity on
and off, plus two and three tones and two sliders at once), every
slider is a levels-and-gamma curve on each channel:
- Preserve Luminosity off: midtones is gamma 2^-a on the slider's own
channel; shadows gamma 2^(-a/2), after a black point at 0.39·|a| when
lowered; highlights gamma 2^(-a/2), after a white point at 1 - 0.39·a
when raised.
- Preserve Luminosity on: midtones gamma 2^(-a/2) on its channel and
2^(a/2) on the other two; shadows and highlights go by the differences
between a tone's sliders: a black point at 0.39·(max - own) and a
white point at 1 - 0.39·(own - min) per channel.
- Tones apply highlights, shadows, then midtones.
All 88 measured cases match within 1 level, except midtones +100 below
about 28 of 255 (Photoshop flattens the steepest gamma near black, by
up to 9 levels). The corpus file is now within 4 levels (mean 1.4, was
20.9).
The GPU builds the same curves into per-channel tables and uses the
Levels/Curves kernel; the old Color Balance shader case is gone.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* ci: restore test and Clippy gates
* ci: keep browser wasm below size gate
* CI: restore plural catalog and MCP resource test gates
Adapted the catalog, parser, and shared-cache test fixes from PhotoCraft PR #3821 by @bommerts. The source-key test, bundled-catalog test, and MCP resource test pass locally.
* CI: expect saved native document name in CLI test
The native save path intentionally writes the output filename into the reopened bundle. Keep the pre-save Run assertion and assert r.pcraft after reopening.
* CI: compare orientation round trips without saved filenames
Native saves encode the output filename in document name. Check each expected name, then compare the remaining document fields and pixels.
Gradient fills and gradient effects read their interpolation method from
`gs99`, a key Photoshop doesn't write. Gradient fill layers saved by
Photoshop 27.11 store it as the enum `gradientsInterpolationMethod`
(Perc, Lnr , Smoo, Gcls), so every Perceptual, Linear or Smooth gradient
opened as Classic. It shows once the fill is re-rendered (any edit):
measured against Photoshop's own composite of the saved file, a
black→white Linear fill was up to 74 levels off and Perceptual 31; both
are now within 1. `gs99` stays as a fallback.
Smooth, Photoshop's default method since 2024 (also for Gradient Map),
had no model. Measured on Photoshop 27.11 (scripted gradients on three
colour pairs), it runs straight across each segment in Oklab with its
own easing, the same curve for every pair, and Smoothness doesn't
change it. The curve fits no simple formula, so it is a 17-point
measured table. Two-stop Smooth gradients are within 2 levels (Classic
was 31 to 83 off); with three or four stops within 11 to 25 (Classic 48
to 106), as Smooth also smooths across stops in a way not modelled yet.
Corpus: no file changes status; psd-tools effect-enums.psd (Smoo
gradient effects) goes from 7.10% to 6.13% differing pixels.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
A one-sample LinearRaw DNG (VueScan film scans, Leica Monochrom) was
rejected as "LinearRaw data with 1 samples per pixel". The DNG decoder
now accepts it and develop renders it as neutral grey: the one sample
fills all three channels, white balance, colour matrices and camera
looks do not apply, and the output is R = G = B in 16-bit ProPhoto.
io skips the preview colour fit for such files.
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
save_dir removed unreferenced objects with `remove_file(..)?` after the
manifest commit, so a vanished or locked file made a completed save
(autosave) report failure. The cleanup is now best-effort.
RecoveryStore::new sweeps recovery data nothing could load or clean up:
bundles without a sidecar (crash during a first autosave) and
*.pcsave.tmp files of other processes, only once untouched for 24 hours
so another instance's in-progress save is never touched.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Clear (and the background-colour fill it does on a Background layer)
read the whole selection bounds into one float buffer, looked the
selection up in its tile map once per pixel and wrote every tile back,
single-threaded. On an 8000x6000 layer that took about 2 s (3 s on the
Background). It now edits the encoded tiles in parallel, drops fully
cleared tiles, shares one solid tile for fully covered opaque fills and
copies a tile only when a pixel in it changes. Results match the old
pass exactly; 20-110 ms on the same documents.
Fixes#3463
Co-authored-by: Fabio Lussi <198260595+itrycodinganditsbad@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Add the brush-outline half of #2516 on its own, so review and merge stay
small; the last-brush persistence half follows separately.
- paint: new `outline` module traces the tip shape as closed rings in
radius units -- a computed ellipse for round tips (rotated/flattened),
marching squares over the bitmap for sampled/stored tips, at the full
tip or the 50 % alpha contour. Traced rings stay finite and bounded for
hostile sizes; tested for the half-coverage contour, blank tips and
hostile input.
- ui-egui: new `brush_cursor` picks the traced outline when the tip has a
shape and falls back to the plain circle otherwise; `tool_cursor` gained
the `Outline` shape (bitmap rasterisation by segment splatting, painter
fallback on non-Windows).
- The Normal Brush Tip circle now goes through `half_coverage_radius`
(#2744) so outline and circle agree on the real 50 % contour.
Review fixes from #2516:
- Merged main; docs/scorecard.md is main's version and was verified with
`cargo xtask scorecard --check` (regeneration changes nothing).
- Dropped the scratch benchmark `crates/paint/examples/tmp_outline_bench.rs`
and the two `#[ignore = "temp bench"]` tests in tool_cursor/tests.rs.
Co-authored-by: JJ <jj@dot.com>
A command whose params document "layer":id acts on that layer, but its
availability check looked at the active layer. With another layer selected,
`layer.smartObjects.replaceContents {"layer": N, "path": …}` failed with "the
active layer is a Group layer, not a smart object", although layer N is a
smart object; likewise Rasterize, Export Contents, Merge Down and the rest.
Scripts, recorded actions and MCP agents hit this whenever the selection
differs from the layer they name.
Two allow-lists covered part of it: #466 (smart filters, Edit Contents,
Convert to Layers) and #2457 (hide, show, rename with nothing selected). The
#466 check now applies to every command that documents "layer":id (210
today; the old list is a subset): the precondition runs with the named layer
as the active one, then the active layer is restored. A name that isn't a
layer of the active document falls back to the usual check, so bad ids still
fail as before. It moves from smart_cmds to Session, as it isn't specific to
smart objects any more.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* fix(clipboard): Copy takes every selected layer, Paste recreates them (#2478)
With several layers selected and no pixel selection, Edit > Copy only
copied the active layer's pixels, so Paste made one layer. Photoshop
copies all selected layers and pastes them back as layers.
Copy now puts the selected layers (those no selected group already
carries, bottom-to-top) on the session clipboard as whole layers, which
Paste already knew how to recreate (paste_layers). The OS clipboard still
gets the merged pixels. A pixel selection keeps the old behaviour (the
active layer's selected pixels), and the Background in the set pastes as
an ordinary, unlocked layer, as Duplicate Layer makes it.
Tests: several layers round-trip in one undo step, a pixel selection
still copies one layer, and the Background case.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* test(clipboard): several copied layers paste into another document (#2478)
Copy two layers in one document, paste them into a 16-bit and a 32-bit
document: both arrive in order, converted to the target depth with their
own pixels, as one undo step, and the source document is untouched.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
* fix(selection): keep Color Range inside active selection and reject out-of-bounds samples
* fix(ui): scope Color Range dialog and canvas previews to the active selection
* test(selection): cover Color Range scoping, sampling, invert, Add and undo
* test(ui): ensure Color Range preview and pipette honor existing selection
* test(selection): avoid Debug bound when asserting prepared-query error
* test(selection): validate malformed Color Range sample orders without selection interference
* Color Range: format, and scope the OK undo test's prior selection (#3313)
The existing ok_applies_one_undo_step test picked a prior selection that
excluded the red it then expected Color Range to select; with Color Range
scoped to the active selection it now selects the red inside it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Load Work Path, saved path and layer path thumbnails as selections on
Ctrl/Cmd-click. Support Shift to add, Alt to subtract and Shift+Alt to
intersect, without changing the selected path or treating the click as
Save Path. Clicking the row name keeps its existing selection behavior.
Render uncached shape transparency instead of selecting the entire canvas.
Add regression tests for thumbnail hit testing, active-layer preservation,
selection combinations, undo/redo and 8/16/32-bit uncached shapes.
Co-authored-by: kotulsky <7805437+kotulsky@users.noreply.github.com>
* fix(engine): use document depth for new pixel masks
* test(engine): check mask depth and selection coverage
* test(engine): preserve mask edits across native and PSD round trips
* fix(presets): never overwrite a brush group file that failed to load
A group file skipped at load (corrupt, newer version, missing tips) was replaced on the next sync with only the new presets. Remember skipped files and leave them unchanged with a warning.
* fix(presets): never overwrite an actions.json that failed to load
A corrupt, oversized or newer-version actions.json loaded as an empty list, and the next action change rewrote it with only the new actions. Remember the skip and leave the file unchanged with a warning.
Saves store each distinct tile once (a solid fill shares one Arc<Tile>), but
the loader fetched, decompressed and charged max_total_bytes once per tile
reference and gave every coordinate its own copy. A solid canvas above
~65536² (8-bit) failed to reopen with "bundle expands beyond 17179869184
bytes", and smaller ones lost their sharing (a solid 30000² 32-bit document
went from about 1 MB to about 14 GB in memory).
The loader now keeps the decoded tiles of the current load by sample type and
content hash: each distinct tile is decoded, hash-checked and charged against
the budget once, and every further reference gets the same copy-on-write Arc.
The budget still bounds distinct decoded bytes; extra references cost a map
lookup and an Arc clone each, bounded by max_manifest_bytes.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
A group's effect region and the empty-tile check were computed from
layer_bounds, which for a group is the union of its children's pixels.
A child's outside stroke reaching past that region was cut off on the
canvas (GPU) and in tiled CPU renders, and the group's drop shadow
followed the cut shape.
New photocraft_compose::effect_source_bounds: for a group, the children
grown by their own effect reach. Used by compose::effect_region,
compose::empty_in and gpu::bounds::effect_region.
generated with Claude Code
File › New › Recent was a hard-coded pair of presets plus Clipboard. Each
document created with the dialog now records its settings (size,
resolution, mode, depth, background, display units) through the new
document.recent.add command: newest first, equal entries collapsed, at most
20, persisted with the presets (a damaged entry is dropped on load, the rest
kept). The Recent tab lists Clipboard, those documents, then the defaults
they don't cover; a click restores every setting, a double-click creates,
and the grid scrolls past three rows. document.recent.list exposes the list
to agents; creation stays in file.new. Closes scorecard row UI-217-12.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Agents read the tool description, not docs/mcp.md, and the command_batch
description only said it stops at the first error. It now also says the
steps run in order and that earlier successful steps stay applied: there
is no rollback. docs/mcp.md gives the stop_on_error default and a recovery
recipe: inspect with doc_inspect, undo with edit.undo once per history
entry (undo does not reverse files written to disk), or experiment on a
copy made with image.duplicate or history.newDocument. A test checks the
listed description.
Claude-Session: https://claude.ai/code/session_01BSB7fMQUccqFQekksDGWpo
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
`[` steps the brush size down by 25 %, rounded: from 2 px that is 1.6,
which rounds back to 2, so the key never reached 1 px and pixel artists
had to type the size. `]` already grows by at least a pixel; `[` now
shrinks by at least a pixel the same way, still never below 1 px.
Filter > Vanishing Point now opens a dialog mode on the canvas instead of
the generic parameter dialog:
- Create Plane (C): four clicks, in any order, make a plane (corners are
normalised clockwise from the top-left, the order paste expects).
- Edit Plane (V): drag corner nodes, or edge nodes to slide an edge along
the plane's own perspective; click a plane to select it, Delete removes it.
- The plane grid is drawn at the Grid Size, in the accent colour when the
plane is valid, warning yellow when its perspective is doubtful and red
(outline only) when the quad isn't convex (VpPlane::check).
- With an image on the clipboard the selected plane previews it pasted in
perspective; drag to move it, Width sets its size, New Layer renders it
on a new layer. OK / Enter runs filter.vanishingPoint with the planes and
the paste as one history step; the control channel drives the same
session through {"ui": {...}}.
The engine now rejects a drawn plane whose corners don't form a convex
quad (bow-tie, dented) instead of warping along it.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
The Clone Source panel gets Photoshop's W/H chain (Maintain aspect
ratio): with it on, a new W or H scales the other by the same factor.
cloneSource.set takes "linked" and cloneSource.list reports it.
The overlay's Darken, Lighten and Difference modes were stored but
never drawn. draw_clone_preview now blends the source with the
composite under the brush (clone_source::overlay_blend), so Difference
goes black where source and image line up.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
The mesh was every square grid cell touching the layer's opaque pixels:
a staircase up to a cell outside the shape, and shapes closer than about
a cell shared cells, so pinning one dragged the other along.
build_mesh now traces the outline of the opaque region grown (or shrunk)
by Expansion from a signed distance field, simplifies it (Douglas-Peucker,
corners kept), splits its sides to the Density spacing, fills the inside
with a triangular lattice and triangulates the points (Bowyer-Watson
Delaunay, outline sides recovered by midpoint splits), keeping the
triangles inside the outline. Separate shapes get separate meshes, so an
unpinned one stays put, as in Photoshop. Vertices are numbered in reverse
Cuthill-McKee order to keep the solver's banded factor narrow, and the
density's spacing counts the grown region so a large Expansion on a small
layer no longer builds tens of thousands of vertices.
Scorecard TOOL-214-6 done; docs/gaps.md G7 updated.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* Curves: pencil mode, Smooth and Edit points (#3088)
The Curves editor (Image > Adjustments dialog and the adjustment layer's
Properties panel) gains Photoshop's "Edit points to modify the curve" and
"Draw to modify the curve" buttons plus Smooth, with tooltips. A drawn
curve is a 256-level map per channel, evaluated piecewise-linearly.
- doc: Adjustment::Curves gains `pencil` (serde default), with
curve_map / curve_map_outputs helpers.
- compose: curve_map_lut / curve_lut_mode for drawn curves.
- engine: curves params take `pencil` and `smooth`; channels accept
256-level maps; switching modes draws the spline into maps or fits up to
16 points to the drawing. Eyedroppers fit points first.
- io: the PSD `curv` map flag (first byte, psd-tools `is_map`) was read
as padding, so pencil curves from Photoshop were misparsed; they are now
read and written as 256-byte maps, and smart-filter Curves use `Mpng`.
- scorecard UI-217-15 note updated.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Properties: Curves adjustment layers get the black/gray/white eyedroppers (#3110)
The Set Black/Neutral Gray/White Point pickers existed only in the
Image > Adjustments > Curves dialog (#873). The Properties editor of a
Curves adjustment layer now has them too (layer_picker.rs): with one
armed, a click on the image runs one layer.setAdjustment with the new
`eyedropper` param, which samples the image below the layer (the layer
hidden, like its Properties histogram) at the Eyedropper's Sample Size,
so a repeated click keeps the curve and the edit is one undoable,
recordable step agents can send directly. Esc, another tool or another
layer disarms it; ui.pointer and ui.inspect (`layerPicker`) cover it.
Scorecard UI-217-15 is done.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Levels: black, gray and white point eyedroppers (#3116)
Image > Adjustments > Levels and a Levels adjustment layer's Properties
panel get Photoshop's Set Black/Neutral Gray/White Point eyedroppers.
Black/white move each channel's input black/white to the sample, gray
sets each channel's midtone gamma so the sample turns neutral at its
luma (Grayscale: composite input, no gray). The engine takes the same
`eyedropper` param as Curves on image.adjustments.levels,
layer.newAdjustmentLayer.levels and layer.setAdjustment.
On a smart object, image.adjustments.levels/curves with `eyedropper`
now record the resolved adjustment as the smart filter instead of the
raw sample, which re-rendered as an identity (#3127).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Merge upstream/main: Curves in new compose/gpu HDR tests gets the pencil field (#3088)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* Format: admit the declared .pcraft canvas before loading it (#2935)
A .pcraft manifest's canvas size was copied into the Document unchecked, so
a few bytes of JSON could declare a 300000x300000 (or u32::MAX) canvas that
the CPU reduction, thumbnails and display textures then work against in
proportion to its area.
The loader now refuses an empty canvas, a side above 300000 (Photoshop's PSB
limit, as for PSD and file.new) and an area above 4 gigapixels, right after
reading the manifest and before any tile or blob is decoded. Both limits are
LoadOptions fields so trusted callers can change them.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Format: admit every canvas the app can create on .pcraft load (#2935)
The default pixel budget was 2^32 (65536 x 65536), but file.new, Canvas
Size, Image Size with Resample off and PSB import all reach 300000 x
300000, so a document a user could create and save would not reopen.
The default is now the full 300000^2 PSB canvas; the side limit still
refuses anything larger, and callers handling untrusted files can lower
either budget. Loading stays proportional to the file: layers keep only
the tiles the bundle holds, so a huge declared canvas allocates nothing
for its area.
A compile-time assert in document_preset_cmds ties file.new's
MAX_DIMENSION to the loader's defaults.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Curves: pencil mode, Smooth and Edit points (#3088)
The Curves editor (Image > Adjustments dialog and the adjustment layer's
Properties panel) gains Photoshop's "Edit points to modify the curve" and
"Draw to modify the curve" buttons plus Smooth, with tooltips. A drawn
curve is a 256-level map per channel, evaluated piecewise-linearly.
- doc: Adjustment::Curves gains `pencil` (serde default), with
curve_map / curve_map_outputs helpers.
- compose: curve_map_lut / curve_lut_mode for drawn curves.
- engine: curves params take `pencil` and `smooth`; channels accept
256-level maps; switching modes draws the spline into maps or fits up to
16 points to the drawing. Eyedroppers fit points first.
- io: the PSD `curv` map flag (first byte, psd-tools `is_map`) was read
as padding, so pencil curves from Photoshop were misparsed; they are now
read and written as 256-byte maps, and smart-filter Curves use `Mpng`.
- scorecard UI-217-15 note updated.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Properties: Curves adjustment layers get the black/gray/white eyedroppers (#3110)
The Set Black/Neutral Gray/White Point pickers existed only in the
Image > Adjustments > Curves dialog (#873). The Properties editor of a
Curves adjustment layer now has them too (layer_picker.rs): with one
armed, a click on the image runs one layer.setAdjustment with the new
`eyedropper` param, which samples the image below the layer (the layer
hidden, like its Properties histogram) at the Eyedropper's Sample Size,
so a repeated click keeps the curve and the edit is one undoable,
recordable step agents can send directly. Esc, another tool or another
layer disarms it; ui.pointer and ui.inspect (`layerPicker`) cover it.
Scorecard UI-217-15 is done.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Merge upstream/main: Curves in new compose/gpu HDR tests gets the pencil field (#3088)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Limits::max_alloc budgets the decoded pixel buffer, but the PNM decoder
collected one u32 per sample first (4x an 8-bit image, plus a u16 copy
for 16-bit) and PFM built a Vec<f32> beside the output bytes. Samples are
now rescaled and written straight into the native-endian output buffer
(reserved fallibly), so the only header-sized allocation is the one
Limits::check already charged.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
The Catmull-Rom tangents used for Smoothness are derived from the
neighbouring stops, so a segment between two equal-coloured stops (a
flat plateau) picked up a non-zero tangent and dipped below its own
colour. In the Gradient Map from #3028 the 27%-53% plateau (#1c1c1c)
rendered about 19/255 too dark.
Bound each interpolated channel to the range of the segment's two end
colours. Smoothness still bends the ramp, but never invents a colour
outside the segment, so plateaus stay exactly flat.
The regression test uses the four stop positions and grey values from
the issue (synthetic, no artwork) and fails without the clamp.
* Curves: pencil mode, Smooth and Edit points (#3088)
The Curves editor (Image > Adjustments dialog and the adjustment layer's
Properties panel) gains Photoshop's "Edit points to modify the curve" and
"Draw to modify the curve" buttons plus Smooth, with tooltips. A drawn
curve is a 256-level map per channel, evaluated piecewise-linearly.
- doc: Adjustment::Curves gains `pencil` (serde default), with
curve_map / curve_map_outputs helpers.
- compose: curve_map_lut / curve_lut_mode for drawn curves.
- engine: curves params take `pencil` and `smooth`; channels accept
256-level maps; switching modes draws the spline into maps or fits up to
16 points to the drawing. Eyedroppers fit points first.
- io: the PSD `curv` map flag (first byte, psd-tools `is_map`) was read
as padding, so pencil curves from Photoshop were misparsed; they are now
read and written as 256-byte maps, and smart-filter Curves use `Mpng`.
- scorecard UI-217-15 note updated.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Merge upstream/main: Curves in new compose/gpu HDR tests gets the pencil field (#3088)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Text in these scripts drew .notdef boxes although the OS had a font for
them. Detection was never the problem: the system font scan loads them,
and asking for one by name shapes correctly. The fallback stack is a
list of family names intersected with the installed fonts, and it had no
entry for any of the three, so an installed Khmer, Lao or Burmese font
could not be reached from a Latin-only face.
- photocraft-text: KHMER_FAMILIES, LAO_FAMILIES and MYANMAR_FAMILIES join
fallback_candidates next to THAI_FAMILIES; the web build's served-font
scripts gain Khmr, Laoo and Mymr (with their ranges and languages).
- photocraft-ui-egui: the UI's lazy loader had one non-CJK slot (Thai).
It becomes a LazyScript slot table, so the three scripts are data
rather than a third and fourth copy of the same state machine.
- Tests assert detection and selection separately, so a future failure
names its layer, and skip when a machine lacks the script's font.
Co-authored-by: Raccoon <235524086+RaccoonPie-314@users.noreply.github.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Brandon Thomas
Skyfuller
Dan Hiorns
Sir Starch
skylar taylor-barrick
Valentin Klein
FinnNk
F4LCON
Scott C Hughes
Unemars
MrCloudy2
David Mann
Fabio Lussi
siraxe
Fabian Ghenof
Yousuf 'Jay' Philips
DomiLuebben
prekabreki
Nigel Ihza Firdausy
kotulsky
Mr-Pearce
piero-83
Thomas Han
alexanderalber
KnottyDyes
myangaa1
RaccoonPie-314