The second half of #966. With Proportional Metrics on, a vertical segment is
also shaped top to bottom, with and without `vpal`: the difference gives
each glyph's change of advance down the column and its x and y placement.
An upright glyph (not tate-chu-yoko) in a font with vertical metrics takes
them on top of its cell, so it moves with its shorter cell; a font without
vertical metrics keeps `upright_cell`'s cell, and with the switch off
nothing is shaped twice and the column is as before.
As in horizontal type, Line-end Punctuation Half Width takes nothing more
off the punctuation `vpal` re-spaced and trims the punctuation it leaves
full height as before. Docs: mcp.md, and Proportional Metrics leaves the
missing lists in gaps.md, type-parity.md and target-app-parity.md.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The planar map merged sweep endpoints within eps into one vertex id but
kept each segment's own copy of the coordinates, so faces meeting at a
vertex could disagree on that corner by ~1e-13. Uniting them then failed
to cancel their shared edge, and a merged strip came back as several
touching subpaths whose stroke drew the inner edges as leftover lines.
Pin every edge's ends to its vertex's canonical position, so faces share
their corners bit for bit. Regression test from the reporter's grid.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The crash: rfd's blocking dialog ran -[NSSavePanel runModal] inside
winit's event handler; when a resize of the panel ends, AppKit runs the
closures winit queued meanwhile, and winit's re-entrancy panic fires
inside an Objective-C block, where it can't unwind, so the app aborts.
As PhotoCraft (#673) and PdfCraft (#145) ship it:
- macOS: picks::ask shows an rfd::AsyncFileDialog as a sheet on the
window (beginSheetModalForWindow returns at once); a waiter thread
sends the paths and wakes the window. A pick asked outside an entry is
refused and logged instead of running a modal. Linux keeps its thread
(#592) and now also wakes the window; Windows is unchanged.
- Nine paths that asked outside an entry now run as entries: Load
Profile, Swatches and Graphic Styles Other Library, the shortcut
editor's Import and Export, and the presets dialogs' Export.
- While a dialog is open: the macOS menu bar is inert except Hide, Hide
Others and Minimize; Quit, Close, Close All and the close button are
refused; Finder/Dock opens and the IME discard wait; another dialog
is refused with a status message. The answer re-activates the
document that asked (by uid) and Save Changes finds its document by
uid; a frame guard clears a stale picks entry after a recovered panic.
- ui.inspect reports fileDialog.
Squashed onto current main by the maintainer (with main's automation
sandbox wrappers and font-name menus kept).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
swatch.library.save replied with the number of solid colors and
gradients it was asked to save, including the gradients the format
leaves out. For a new document saved as .ase, count was 50 and the file
held 46 colors. The .gpl and .ase writers keep solid colors only, and
the CSS writer leaves freeform gradients out.
count is now the number of swatches written. The new
PaletteFormat::holds returns whether a file of a format keeps a swatch
with a given paint, and swatch.library.save counts the swatches for
which it returns true. The reply has the same fields as before.
Tests: after a freeform gradient is added to a new document's swatches,
the test checks that count has these values: 51 for .vcswatches, 46 for
.gpl and .ase, and 50 for CSS. Each file holds that many swatches.
Docs: docs/mcp.md.
Object › Lock › All Artwork Above and Object › Hide › All Artwork Above
lock or hide the objects that are above the selection in its layer and
overlap it. Such an object can be a group or a sublayer that holds
another selected object. The commands left that object selected, the
key object included. Align then moved the locked object, or aligned
the other selected objects to the hidden key object. object.lock and
object.hide clear the selection, and layer.setProps, which the Layers
panel's eye and lock columns run, deselects what it hides or locks.
Both commands now deselect every selected object that is locked or
hidden after the command, as layer.setProps does, and clear the key
object when it is one of them. Undo selects the objects again and
restores the key object.
Docs: the object.lock.above and object.hide.above params text,
docs/target-app-parity.md.
object.align, object.distribute and object.distributeSpacing moved
objects without their pattern tiles, whatever General › Transform
Pattern Tiles was set to. They now follow the preference as Move,
Nudge and the Selection tool do: with it on, pattern fills and strokes
move with the art. Each also takes a `patterns` param for one call, as
the transforms do. When the art uses a pattern, the journal records the
choice, and a recorded action plays back with it.
Docs: docs/mcp.md (transformPatternTiles), docs/target-app-parity.md.
object.setProps with visible: false or locked: true left the objects
it hid or locked selected, the key object included, and kept selected
objects inside a group or layer it hid or locked. Align then moved a
locked object, and aligned the other objects to a hidden key object.
object.lock and object.hide clear the selection, and layer.setProps,
which the Layers panel's eye and lock columns run, deselects what it
hides or locks.
After a call with visible: false or locked: true, object.setProps now
deselects every selected object that is then hidden or locked, as
layer.setProps does: the selected objects it hides or locks, selected
objects inside them, and selected objects that were hidden or locked
before the call. It clears the key object when the key is one of
them. Undo selects them again and restores the key object. A call
with visible: false or locked: true that changes nothing records no
undo step and still deselects them, as object.lock and object.hide
do. A call that sets neither, such as an opacity change from the
Control bar or the Transparency panel, leaves the selection as it is.
Docs: the object.setProps params text, docs/mcp.md, docs/target-app-parity.md.
object.align with neither horizontal nor vertical returned success
and moved nothing. The command palette, and a key bound to it in
Keyboard Shortcuts, run it with no params. It now returns
"give horizontal or vertical", as object.distribute already did.
An action recorded while Align ran from the palette or a bound key
contains an object.align step with no params. Playing that action now
fails at that step, and command.batch rolls back the whole action.
Values outside a parameter's choices were read as another choice or
ignored. Align ignored an unknown horizontal or vertical and aligned
to the selection for an unknown to value. Distribute read an unknown
direction as center. Distribute Spacing and Shear read any axis other
than "vertical" as horizontal, and Reflect read any axis other than
"horizontal" or a number as vertical. A bounds or to value that was
not a string fell back to the default, and a spacing that was not a
number gave automatic spacing. The commands now return an error that
names such a value, before they move anything or record an undo
step. When a to, bounds, axis or spacing value is missing or null,
the command uses the parameter's default: Distribute Spacing without
an axis spaces the objects horizontally.
The run_command description and docs/mcp.md showed object.align with
an align param it does not have; they now use horizontal. The new
status-bar messages have rows in the de, es, fr, it, ja, ru and uk
catalogs.
Docs: docs/mcp.md, docs/target-app-parity.md.
Align to Artboard aligned the selection to the artboard under its
center, or to the first artboard when no artboard was under the
center. A press with a selection tool inside an artboard makes that
artboard the active one (#693). With the Selection tool, a
Shift-click on an empty spot inside an artboard also makes it active
and keeps the selection. Align to Artboard did not use the active
artboard.
object.align takes artboard, a 0-based artboard index, and uses it
when its to param is "artboard". The app passes its active artboard,
the one the Artboards panel highlights, to each object.align it runs
that names none, as it does for Paste in Place, Paste in Front, Paste
in Back (#693) and Select › All on Active Artboard (#1006). MCP calls
in remote mode also get it. Without artboard (headless MCP and the
CLI), or with an index the document doesn't have, object.align aligns
to the artboard under the center of the selection, or to the first
artboard when no artboard is under the center.
command.batch takes artboard too, and the app passes it the active
artboard. The batch passes it on to each step of these five commands
that names none, when the step runs. When the document a step runs in
has no artboard at that index (for example, after an earlier step
deleted the active artboard when it was the last one), the step gets
that document's last artboard. A step in a document that an earlier
step opened, created or switched to gets the same index, not that
document's own active artboard.
With Align to Selection, one selected object aligned from the Align
panel, the Control bar or the Properties panel is aligned to the
active artboard too, unless it is the key object.
Recorded actions leave out the artboard that the app passes to these
commands and to the batch. The Actions panel plays an action as a
batch. Its Align to Artboard, All on Active Artboard and in-place
paste steps that name no artboard use the artboard that is active
when it plays, and the default Center on Artboard action now centers
on the active artboard. In-place paste steps recorded since #693 and
before this change still paste onto the artboard that was active when
they were recorded.
Tests cover object.align with and without artboard on three artboards;
a Shift-click that makes an artboard active, after which Align to
Artboard aligns to that artboard but keeps an artboard the call names;
a batch that passes its artboard to each step when the step runs,
after a step deletes the last artboard and in a new document; recorded
actions that leave the artboard out; and recorded Align to Artboard
and Paste in Place steps and the default Center on Artboard action,
which play on the artboard that is active when they play.
Docs: docs/mcp.md (Align to Artboard), docs/target-app-parity.md.
Selecting two objects, clicking one to make it the key object and then
Shift-clicking the other left the remaining object as the key. The
canvas still drew that object with the thick key-object outline. The
Align panel aligned the object to itself, so the object did not move.
The key is now cleared after any change that leaves no other selected
object outside it, such as a Shift-click, or hiding or deleting the
other object's row in the Layers panel. On a single selected object,
or on a group selected with only its own members, select.key sets no
key.
With one object selected and Align to Key Object chosen, the Align
panel, the Control bar and the Properties panel ran object.align with
to: "key", which fails with "no key object" when the selection has no
key. All three now align a single selected object to the artboard
whatever Align To is set to.
Docs: docs/target-app-parity.md.
With a document open, the desktop app ran File › Place on a swatch or
graphic style library, a Libraries panel file, a presets file or a
plug-in dropped on it. A desktop drop has no position, and without one
the app opened only documents and ran File › Place on every other file.
On the web, the app also ran File › Place on these files when they were
dropped on the canvas. File › Place can't read them, and the drop
failed with "Couldn't place X: ... not a format VectorCraft reads".
VectorcraftApp::drop_target now returns Open for these files, with or
without a drop position, and they open as File › Open opens them:
plug-ins are installed, presets are imported, swatch and graphic style
libraries open in the library panel, and a Libraries panel file is
added to the Libraries panel as a new library. A dropped library,
presets file or plug-in that has a path is added to Open Recent Files
when it opens, as File › Open adds it. io::opens_as returns the kind of
each of these files from its extension, and drop_target and
io::open_bytes both call it. The rules from #472 still apply to
documents, pictures and text. On the web the browser gives no file name
before the drop, so the app still outlines the canvas while such a file
is dragged over it.
Tests: drop_target returns Open for each of the eleven extensions, with
no position and with a position on the canvas. A .gpl dropped through
the desktop drop path loads in the library panel and is added to Open
Recent Files, and a .vclibrary dropped the same way becomes a new
library in the Libraries panel.
Docs: docs/control-protocol.md (file.place), docs/development.md
(Drag-and-drop), docs/target-app-parity.md (Evidence, UI).
`hdiutil makehybrid -hfs` gave every file in the image a
com.apple.FinderInfo, which `codesign --verify --strict` rejects as
"Finder information, or similar detritus" on the app in the DMG and on
copies installed from it, so compliance and MDM checks reported the
notarized app as damaged. As PdfCraft did (storytold/pdfcraft#823,
shipped in PdfCraft 0.6.0), the DMG is now made with
`hdiutil create -srcfolder -fs HFS+ -format UDZO`, retried when a CI
runner's device is busy, and the app mounted from the finished DMG must
pass `codesign --verify --strict --deep` before the release goes on.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Since #1025 reads global colours, more Illustrator EPS files open through
their layers, and for one reported file that gave a worse result than its
page did in 0.8.0:
- the page became the editing data's artboard (344 pt tall) instead of the
file's own bounding box (358 pt), cutting off art reaching above it. An
EPS whose page is its art's box now keeps that page on the layers path
too, as it does on the page path.
- prune_unseen took out text objects the page does draw: a red stroke
stacked over a dark red one differs from it by less than the lightness
margin, so the page looked no different without it. Pruning now weighs
each text object by colour (any of red, green, blue more than 64 apart);
the page check itself still compares by lightness, so colours written
as their CMYK equivalents still match.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
When a .ai's layers can't be read from its editing data yet, it opens as
its PDF part, which lists the artboards as pages; those were laid out in
a row, so a grid of artboards (or any other arrangement) was lost. The
editing data's artboards are now read even then (ai::artboards, as far
as the reader gets) and, when there are as many as pages and of the same
sizes, each page goes where its artboard is, with the art on it (the art
of a page: the objects mostly on it, else nearest it). Otherwise the
pages stay in a row as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Align and Distribute Spacing move a selected compound path or group as
one object, and they found the key object only when its own id was
among the objects they move. When the key was inside a compound path
or a selected group, aligning to the key moved that compound path or
group like any other object, and the key moved with it. In that case,
Distribute Spacing with a spacing held the first object still instead
of the key.
The key object can end up inside a selected group or a compound path.
Dragging its row into a group in the Layers panel (layer.move) keeps
the selection and the key. A Selection-tool Shift-click on that group,
when it is unselected and directly in a layer, then adds it to the
selection (select.toggle) and keeps the key. Other ways of adding the
group keep the key as well: a Shift-click in the Layers panel's
selection column or on the group's target circle, a Group Selection
click that hits the key itself, select.add, and select.anchors or
select.anchorsMany in add or toggle mode. In isolation mode, a
Selection-tool click on one of several selected objects in the
isolated group makes that object the key. In an isolated compound
path, the same click on the outline of a selected member makes that
member the key.
Align to the key object and Distribute Spacing with a spacing now keep
in place the selected object that is the key or contains it. Both
commands look for that object among the key and its ancestors, so a
group around the key's group also stays in place. Aligning to the key
still lines the others up with the key's own bounds.
Docs: docs/target-app-parity.md.
A .ai or PDF whose spot colours are defined in Lab opened them wrong:
- the PDF part gives such an ink an ICC Lab profile as its alternate
space ([/ICCBased profile], 3 components), which was read as RGB, so
the Lab values were clamped into wildly wrong colours (PANTONE 249 C
came in yellow). A profile whose Alternate is [/Lab ...], or whose
header names the Lab data colour space, is now read as Lab;
- the editing data writes them as `c m y k L a b (name) tint 2 Xx`,
type 2 being Lab, and only the CMYK equivalent was read. Type 2 now
gives the Lab colour, in the swatches and on the art.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
These Object commands edited the document even when nothing changed, so
the call recorded an undo step, emptied Redo and marked the document
modified:
- object.align, object.distributeSpacing and object.distribute (three
or more objects) when no object moves. With one object selected,
Object › Align aligns it to its own bounds, so it recorded a step
every time. Calls on objects that were already aligned or evenly
spaced also recorded a step, including objects that an earlier Align
or Distribute left a rounding error away from the position the next
call computes.
- Move, Rotate, Scale, Shear, Transform and Nudge by an identity
transform without a copy, Transform Again after one, Set Bounds with
the current position and size, and a Selection tool drag that ends
where it started.
- Nudge by 0 with anchors direct-selected or with only ruler guides
selected, and Transform with nothing selected or with ids that name
no object, with or without a copy.
- Bring to Front and Bring Forward on objects already in front, Send to
Back and Send Backward on objects already at the back, and Send to
Current Layer on objects already on top of the current layer.
- Ungroup, Release Compound Path and Release Clipping Mask with none of
their objects selected, and Expand Shape with no live shape selected.
- Lock with every selected object already locked, Hide with every one
already hidden, Unlock All with nothing locked and Show All with
nothing hidden.
- object.setProps with the values the objects already have, or with no
object.
- object.setLiveShape with the values the shape already has: a
polygon's sides, angle, radius or equal sides, or a side length that
gives exactly its current radius; an ellipse's pie, including Invert
Pie on a whole ellipse; and a corner radius or kind that the corners
already have.
These commands now return without editing the document, and Align and
Distribute count a move of 1e-9 pt or less on both axes as none. Such a
call records no undo step, keeps the step to redo and leaves the
document unmodified. In these cases Ungroup no longer resets the
selection, and Release Compound Path, Unlock All and Show All no longer
empty it. A Transform with a copy of no object keeps the selection.
Lock and Hide still deselect the objects. A Nudge by 0 no longer
expands a live shape whose anchors are direct-selected. The replies
have the same form as before. An identity transform still sets what
Transform Again repeats. The journal still records each call, so the
Actions panel records it as before.
When every value given to Set Bounds is the current one, it now applies
the identity transform instead of the transform computed from those
values, which can differ from the identity by a rounding error on a
rotated object or with Use Preview Bounds.
When a drag comes back to its start, the identity preview no longer
edits the document. Session::preview now advances the revision when it
undoes the previous preview, so views redraw that drag.
The undo and redo row of docs/mcp.md now notes that many calls that
change nothing record no undo step, so undo after one undoes the step
before it.
A character attribute (Character panel menu with the East Asian options;
`text.setFormat` / `text.setRangeStyle {proportionalMetrics}`), saved only
when on. In horizontal type it applies `palt`; vertical type sets as before
until the vertical shaping change (`vpal`) follows.
Line-end Punctuation Half Width takes nothing more off the punctuation
`palt` re-spaced (the flush opening bracket, consecutive punctuation, the
line-end half width): the segment is shaped once more without `palt`, and
the glyphs whose advance differs are marked. Punctuation the font leaves
full width is trimmed as before. SVG writes `"palt" 1` with the
character's other features.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After scaling 12 pt type 2x, the Character panel still showed 12 pt and
typing 10 pt gave 20 pt type. Character controls and text commands now
work in document points: the size, leading and baseline shift shown and
set are the stored ones times the text's scale along its em height, and
horizontal scale includes the ratio of the transformed em axes. Rotation,
reflection and shear stay in the transform, so text remains editable.
Groups' text counts, keyboard increments use the same units, Shrink
Text to Fit works in document tenths, and a collapsed transform rejects
dimensional edits without touching the document.
text.getRange takes effective: true for the document-space values.
- Version 0.8.0 -> 0.9.0 (cargo xtask version set; Cargo.lock refreshed).
- release.yml: new linux-riscv64 job, ported from GridCraft. Cross-compiles
riscv64gc-unknown-linux-gnu on ubuntu-24.04 against riscv64 -dev packages
from ports.ubuntu.com (the same set the linux job installs), packages a
tar.gz, and runs vectorcraft-cli --version under qemu-riscv64. The draft
release job now needs it, so its tarball is uploaded and in SHA256SUMS.
- packaging/linux/package.sh: CROSS_ARCH / CROSS_TARGET / CROSS_COMPILE /
EMULATOR support, as in GridCraft.
- docs/releasing.md: list the riscv64 artifact.
Checked locally: cargo check -p vectorcraft -p vectorcraft-cli --target
riscv64gc-unknown-linux-gnu, cargo fmt --check, actionlint, shellcheck.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
A .ai in PostScript form went only to the PostScript interpreter, which
stopped on the first operator its missing prolog would define
(`Adobe_packedarray`, `Lb`, `Np`): files from Rhino and other CAD apps name
the procsets without including them.
- Such a program is its own editing data: when it has layers
(`%AI5_BeginLayer`) and no private data, the editing-data reader reads it,
compared with the page when the program runs, from the layers alone when
it can't be run. If the layers can't be read either, the error says why.
- The reader takes the legacy ten-operand `Lb`, ignores flatness `i`, and
uses the bounding box as the page when nothing else says where it is.
- Tests on synthetic files; fuzz fixture and hostile-program layers added.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
# Conflicts:
# ROADMAP.md
# docs/file-format-parity.md
# docs/gaps.md
The editing-data reader stopped on `Xk`/`XK` (global process colours) and
on `p`/`P` (pattern fills), so the file fell back to its PDF part, which has
only the top-level layers.
- `Xk`/`XK` read like `Xx`: a global swatch (not a spot ink), linked at its tint.
- `%AI3_BeginPattern` sections are read by a reader of their own into
pattern swatches (tile from `(name) llx lly urx ury`, art in pattern space);
`p`/`P` fill or stroke with them, placed by the operator's matrix. A pattern
it can't read whole still makes a fill with it unreadable, as before.
- Tests on synthetic editing data; fuzz tokens and fixture extended.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- Guides on a hidden or locked layer leave the selection (Selection::prune,
run after every edit and selection change), their Layers rows neither
select nor drag them, and guide.move / guide.remove / guide.setLayer
refuse them; guide.setLayer refuses a locked target layer, as dragged
rows are refused there.
- A new guide goes where new art goes (the current layer, else the top
shown and unlocked one; refused when there is none), so it never lands
on a hidden layer and vanishes.
- Layer commands keep guides with their layers: Duplicate (and Alt-drag
copies of rows) copy a layer's guides onto the copy, Merge Selected and
Flatten Artwork put the merged layers' guides on the merged layer and
Flatten discards a hidden layer's. One shared doc predicate for "the
layer a guide is on"; the deleted-layer cleanup moves into the doc.
- Tests: engine tests for the above and their undo, a doc check that an
old guide reads with no layer and none is written, and a headless
Layers panel test of guide rows (select, drag to another layer, locked).
- Translations for the new message; docs and a ROADMAP progress line.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Guide rows in the Layers panel drag (the selected guides when the row is
one of them) onto any row of another layer, which lights up, and go to
that layer in one undo step (guide.setLayer takes indexes). Guides on no
layer, from files saved before guides had layers, go on the top visible,
unlocked layer when a document opens or is reverted.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01CC5DiGJEZ5ADaQMBEQk4W1
A ruler guide goes on the current layer (guide.add {layer}), shows,
hides, locks and is deleted with its layer, is listed in the Layers panel
as a row that selects it, and moves to another layer (guide.setLayer).
Guides on a hidden layer neither show nor snap; those on a locked layer
can't be picked.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01CC5DiGJEZ5ADaQMBEQk4W1
A group's upper half inserts the dropped groups right above it and its
lower half right below it, in floating sets and dock columns alike, and a
dock column's room under its groups puts them at its bottom; the edge
bands were too thin to hit, and the one above a dock column's top group
lay outside the column. The tabs a drop stacks panels with now light up
over the panels.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01CC5DiGJEZ5ADaQMBEQk4W1
A floating set dropped on the left edge of the icon column or of a dock
column docks as a new dock column there, building a multi-column dock.
Its groups stack, take tabs and tear out as in a floating set; the strip
along its top floats the column again and its × docks its panels where
they live. Popped-out icon panels open left of the dock columns. Columns
are kept in preferences and workspaces; window.panel.dock takes column.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01CC5DiGJEZ5ADaQMBEQk4W1
Floating panel groups dropped on another group's top or bottom edge join it
in a set: the groups stack top to bottom, move together by the top group's
title bar (whose × docks them all), and a group dragged by its tab strip
leaves the set. A double-click on a tab collapses a group to its tabs.
Sets and collapsed groups are kept in preferences and workspaces, and
window.panel.float takes below, above and collapsed.
Behaviour from public documentation:
https://helpx.adobe.com/illustrator/using/workspace-basics.html
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01CC5DiGJEZ5ADaQMBEQk4W1
The desktop app's ui.render (MCP `screenshot` when connected) always rendered the first
artboard and ignored `artboard`, which the headless backend honours.
It now renders the 0-based `artboard` (the first without one, an error for one that doesn't
exist), as headless does. control-protocol.md and the control.rs list show the parameter.
The test drives ui.render through the control channel on a 64 x 64 and a 96 x 48 artboard:
no index and 0 give 64 x 64, 1 gives 96 x 48 (48 x 24 at scale 0.5), 2 is an error.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
# Conflicts:
# ROADMAP.md
Asset Export, File › Export, Save for Web and Object › Rasterize drew
each shape with its own smoothed edge, so where two shapes met edge to
edge (Divide, Shape Builder, abutting art) both half-covered the pixels
on the line and the background showed through as a thin ghost border.
With Art Optimized (the default) these now supersample, as the option's
name in Illustrator says: the art is drawn with hard edges at four times
the size (three or two times for large images, within a 40-megapixel
budget and the renderer's 65,535-pixel side) and each block averaged
into one pixel. Pixels shared by two shapes are fully owned by one or
the other at the finer size, so no seam is left, and the outer edges
are still smooth. The canvas keeps shape-by-shape smoothing for speed;
None and Type Optimized are unchanged.
RenderOptions::supersample turns it on (exports and Rasterize set it).
A render test checks two triangles sharing a diagonal: a seam with
shape-by-shape smoothing, none supersampled, and the factor's limits.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Eight raster effects on the pixel-filter pipeline
(vectorcraft_effects::pixel::brushstrokes), under a new Effect › Brush
Strokes submenu between Blur and Distort in the Raster Effects section:
- Accented Edges (edgeWidth pt 1..14, default 2; edgeBrightness 0..50,
38; smoothness 1..15, 5): the edges of the softened object painted
towards white chalk at high brightness or black ink at low brightness;
Smoothness also leaves the faint edges out. The shape stays as it was.
- Angled Strokes (directionBalance 0..100, 50; strokeLength pt 3..50, 15;
sharpness 0..10, 3): light areas in right diagonal strokes, dark areas
in left diagonal ones; 0 makes every stroke a left diagonal, 100 every
stroke a right diagonal. Sharpness brings detail and bristles back.
- Crosshatch (strokeLength pt 3..50, 9; sharpness 0..20, 6; strength
1..3, 1): the detail kept under pencil hatching along both diagonals,
Strength passes of it, the edges roughened.
- Dark Strokes (balance 0..10, 5; blackIntensity 0..10, 6;
whiteIntensity 0..10, 2): short strokes towards black in the dark
areas, long strokes towards white in the light areas.
- Ink Outlines (strokeLength pt 1..50, 4; darkIntensity 0..50, 20;
lightIntensity 0..50, 10): black outlines over the edges, ink hatching
in the shadows, shadows darkened and highlights lightened.
- Spatter (sprayRadius pt 0..25, 10; smoothness 1..15, 5): each pixel
shifted by noise up to 0.4 x the radius; Smoothness makes the grains
larger and smoother.
- Sprayed Strokes (strokeLength pt 0..20, 12; sprayRadius pt 0..25, 7;
strokeDirection Right Diagonal, Horizontal, Left Diagonal or Vertical):
strokes along the direction, scattered by up to 0.3 x the radius.
- Sumi-e (strokeWidth pt 3..15, 10; strokePressure 0..15, 2; contrast
0..40, 16): wet strokes, ink bleeding from the darks along paper
fibres, more ink with pressure and an S-curve contrast for rich blacks.
It works in value only: hues and saturation stay, and so does the
object's shape (no fringe in the transparency).
A stroke averages the colour along a segment through the pixel (16
samples at most, the art softened first when they lie more than a pixel
apart); strokes lie in rows around the object's centre, each row
starting at random and each stroke shifted along itself, with streaked
noise for the bristles. Everything is in document space, so the effects
look the same at any zoom or resolution, move with the object and draw
the same every time; outsets and reaches are exact. On a 2000 x 2000
raster in release the slowest settings take 0.3-2.0 s (Crosshatch at
50 pt with 3 passes the most).
Shared helpers instead of copies: edges::sobel (Glowing Edges now uses
it, unchanged), distort::displace and texture::Tones are pub(super).
Catalogue rows with parameter docs, menu entries, Sprayed Strokes'
direction dropdown, translations (de, es, fr, it, ja, ru, uk, zh-hans,
zh-hant; menu labels in cs and pt-br), tests (parameters and clamping,
outsets and reaches, each filter and option showing, chalk and ink on
the edges only, shadows and rich blacks, Sumi-e keeping the shape and
hues, hatching keeping the tone, strokes smearing along their direction,
Spatter's radius, resolution and move invariance, canvas, multithreaded,
PDF and SVG, the command sweep with junk parameters, the menu) and
ROADMAP.
Behaviour from public documentation only:
https://helpx.adobe.com/photoshop-elements/using/brush-stroke-filters.htmlhttps://www.computerhope.com/jargon/p/photoshop-sprayed-strokes.htm
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Progress docs per craftrules standards/progress-docs.md: target-app parity, gaps, roadmap with alpha gate, readiness by audience (full / mainstream / essentials) with Opus 5.5 hours, and feature, format, hardware, UI and localization parity docs.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With High Performance chosen on a hybrid laptop, the window's first
frame never reached the screen: no error, no panic, the app stayed in
the background without a window and the log stopped after "rendering
with". The start-up recovery of #502 only saw failures.
A watch thread now gives the first frame 20 seconds from the app's
creation (after the files named at the start opened). When the second
frame hasn't begun by then, so the first was never presented, the app
starts again without that adapter, as it does after a graphics failure,
and this process ends. A window minimized at the start isn't counted.
When the hung processor was chosen in Preferences, the status bar's
note after the restart points to Automatic.
docs/development.md explains it and how to recover from a Graphics
Processor choice that doesn't work; ROADMAP Last updated.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Add the German catalog: every menu string, every `tl!` literal, the plural
forms and the status and error messages (3,818 rows), written from the meaning
of the English labels in the vocabulary German-speaking users of vector
illustration software know (Zeichenfläche, Farbfelder, Kontur, Fläche, Pfad,
Ankerpunkt, Ebene, Verlauf, Deckkraft). Conventions are in the header of
`de.tsv`.
- Register `de` ("Deutsch") in `i18n::LANGUAGES` as a complete language; every
`de-*` locale (`de-DE`, `de-AT`, `de-CH` …) resolves to it.
- Tests: German joins the menu-label, menu-string, `tl!`-literal and message
coverage checks; `german_reads_as_german` pins the core vocabulary, the
plurals, a nested message, the joined "…format" style names and the theme
context ("Erscheinungsbild" vs the Appearance panel's "Aussehen"); ä ö Ä Ö ß
are checked in the bundled UI fonts. The "unsupported locale" cases use
Dutch now that German is supported.
- README, ROADMAP and docs/development.md list German.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- Preferences hides System Title Bar on macOS and the web, where it did
nothing (it fell through to the plain checkbox row), and lists it with
the window options instead of under Language.
- The next-launch note reuses "Applies the next time VectorCraft starts."
instead of a second wording in every catalog.
- A new window title asks for one more frame: AppKit lays the title bar
out again for it, and the next frame centres the window buttons (#968).
- The menu bar drops the bold branch for the VectorCraft menu it no
longer shows; theme is imported where the tests use it.
- Docs: Language is Preferences › User Interface › Language (VectorCraft
› Language on macOS); the control protocol describes System Title Bar;
ROADMAP Last updated.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A graph's data can now hold blank cells: an empty CSV cell, a null in
`rows` (any cell that isn't a finite number), the rest of a short row,
or a row that has only a label.
- Columns, bars and stacked segments leave a blank cell out instead of
drawing a zero-height mark.
- Line and scatter graphs break their lines around it and draw no
marker there; the value axis ignores it.
- Area, pie and radar graphs draw it as 0, which is what it adds to
them.
The help pages don't describe blank cells, so this is our own choice:
a cell with no value has nothing to draw, which also matches how a
series with a missing year reads in a report.
In the file a blank cell keeps a 0 in `rows` and is listed in a new
`blanks` field ([category, series] pairs, written only when there are
any). A version that doesn't know blanks ignores the field and reads
the zeros, so files still open there, and files without blanks are
unchanged.
A number in straight quotes is a label, as the help page on graph
labels says (a year as a category name, for one). The CSV reader used
to strip the quotes first and read it as a value. Label columns are now
decided for the whole column: once any row starts with a label, every
row's first cell is its label, so a row with an empty label no longer
shifts its values one place left. The data window writes a header row,
labels that are empty, read as numbers or have spaces around them in
quotes, and blanks as empty cells, so they come back as they were.
graph.setData {} returns blanks in `rows` as null, so the rows it
returns can be edited and sent back. A label-only row keeps its place
with blank values; a row with neither a value nor a label is dropped,
and a first row that is a label followed by empty cells (`Year,,`) is
still read as a header with no series names.
The data grid is built in full for drawing and for the data window, so
it now stops at 10,000 categories of 256 series, which keeps a file
with one very long row from allocating without bound.
Behaviour (quoted labels): Add graph labels and data sets:
https://helpx.adobe.com/illustrator/desktop/automate-visualize-data/visualize-data/add-graph-labels-and-data-sets.html
A /ForeignObject (non-native art: the content of a placed PDF, which
Illustrator shows but doesn't edit) was left out with a note. The
letterhead of #861 keeps its fan of swooshes that way: a radial gradient
in a 3-point PDF, scaled 271 times and clipped by the swoosh paths, so
the page lost its main graphic.
The reader now decodes the object's ASCII85 /Data, has the PDF importer
read the PDF, and fits its art to the object's box as a group named
"Non-native art": /Bounds measured from /Origin with y down, then
/RTransform, which lands exactly on the clipping paths around both
objects of that file; the PDF's content is kept in its own y-up
coordinates, so it is flipped into the box. Ids are the document's and
the PDF's swatches stay unlinked; its images join the document by
content key. A PDF that can't be read is left out with a note, as
before.
The EPS crate now uses the PDF crate (same layer; allowed in the layer
check like render and metafile).
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_017ZwZjADUZP4VzvrFGpiZch
The corner widgets only showed when the selection was exactly one path.
Now every selected path that has them shows its widgets: live rectangles
and polygons with the Selection tool, any path with Direct Selection,
each with its own corners (all of a path selected whole, the
Direct-Selected ones otherwise). Dragging any widget rounds every shown
corner of every path in one step, Alt-click cycles their kind, and the
red limit outline covers them all; a double-click opens Corners for the
path it was on. Each widget is drawn in its own layer's colour.
object.setLiveShape takes items: [{id, corners?}], several objects each
with its own corners, which the drag sends.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Search: a search field at the top of the Libraries panel filters the
current library's colours, character and paragraph styles and graphics
by name, ignoring case; groups without a match are hidden, groups with
one open, and a search nothing matches says so ("No results").
Groups: items can be put in user-named groups, kept in the library file
(`groups: [{name, items: [{kind, item}]}]`, left out when there are
none, so files written before groups load as they are). New commands:
library.createGroup {library?, name?, items?}, library.renameGroup
{library?, group, name}, library.deleteGroup {library?, group} (its
items stay, ungrouped) and library.moveItem {library?, kind, item,
group?}. An item is in one group at most; deleting an item takes it out
of its group. The panel shows each group as a collapsible section with
its item count after the ungrouped items (rename and delete on its
context menu), each item's context menu has Move to Group (No Group,
the groups, New Group...), and a New Group button sits in the footer.
library.get lists the groups, library.list counts them. The generic
command dialog takes fixed params in `__params` for this.
Export / import: library.export {library?, path?} writes a library
(colours, styles, graphics with art and thumbnails, groups) as a
.vclibrary file, the JSON the library folder keeps (without a path:
{data}); library.import {path | data | dataBase64, name?} adds one as a
new library, made current, numbered on a name clash ("Brand (2)").
The panel menu has Import Library... and Export Library..., through the
app's file dialogs (the web downloads, and picks through File > Open,
which now lists Libraries files). Imported and folder files are made
safe: at most 10,000 items of a kind and 1,000 groups, names clipped and
made unique, sizes finite, thumbnails kept only when their PNG header
says at most 1024 px a side, group entries naming missing items or
unknown kinds dropped; a file over 512 MB or that isn't a library is an
error. Paths go through the engine's file helpers (automation roots).
The importer is fuzzed (import_fuzz: garbage and mutated libraries).
Also fixed: the third graphic added to a library got the second's id
(`graphic-2` twice).
Docs: the commands' params docs, docs/mcp.md, ROADMAP.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
File › Place and File › Open read PSD and PSB files: the merged image
every such document carries after its layers, which is what a linked PSD
shows. A placed PSD links like any image, so the Links panel updates and
relinks it, and it is sized by its ResolutionInfo resource.
The reader is written from the public file format specification. It
reads Bitmap, Grayscale, Duotone, Indexed, RGB, CMYK (through the colour
settings' CMYK) and Lab, at 1, 8, 16 and 32 bits per channel (32-bit
values are linear), raw, PackBits or zipped with or without prediction.
A document with transparency stores its merged image on white with the
alpha in the first extra channel. It comes back with straight colours,
also for 16- and 32-bit files, which say so in their Lr16/Lr32 block.
Multichannel files are refused with a message. The file is untrusted:
every read is bounds-checked and the image's size is checked against
the decode budget before anything is allocated.
PSB is a read-only format of its own, so exports never write a PSD under
a .psb name. The desktop packaging still doesn't associate either
extension with VectorCraft (UNASSOCIATED_EXTS): they belong to raster
editors. Layers (import options) are left for later.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Preferences › File Handling › Update Links only acted when a document
opened, so a linked image edited in another app while VectorCraft stayed
open kept its old pixels until Update Link in the Links panel, even with
Automatically chosen.
When the window comes back to the front, the active document's links
are now checked. With Automatically, changed files are read again; with
Ask When Modified, they are offered for update, once per change of a
file (keyed by path, size and modification time, since two saves can
share a time); with Manually, the Links panel shows them as modified.
Nothing is asked while a dialog is open.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Effect › Distort & Transform › Transform… was a plain list of fields.
It now has Transform Each's layout: Scale and Move with sliders, Rotate
with an angle dial, then Copies, Reflect X and Y, the reference point and
Random, kept with the effect so editing it from the Appearance panel
shows them again.
- The effect scales, rotates and reflects about the chosen point of the
9-point grid (`reference`, the centre by default).
- Random takes a share of each value, drawn from the object's id: each
object varies its own way and keeps its result on every redraw; a
group's members move together.
- Copies stop before one reaches past 1e9 pt, and the scale and move are
capped, so large values can't overflow.
- Transform Each and the effect share the sections and options code; the
angle dial is a new widget.
- A plain number field now takes the focus when it is a dialog's first
field, so both dialogs open with Scale › Horizontal ready for typing.
Transform Objects, Transform Patterns and Scale Strokes & Effects are not
in the effect yet: the geometry effects reshape paths only.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
vectorcraft-cli mcp and vectorcraft --control take the flags PhotoCraft
takes. While roots are in force, every path a command reads (open, place,
relink, SVG image links, library and profile loads, plug-ins, preset
imports, font searches) must lie inside the read root and every path it
writes (save, export, package, Export for Screens and for Web, print to
file, captures, library saves) inside the write root. Paths are made
absolute, links are followed (a missing file's nearest folder's), and the
result is compared by whole components, ignoring case on Windows; `..`
below a missing folder, dangling links and device names are refused. A
root left out grants none of its access; without the flags nothing
changes.
The checks live in one place, vectorcraft_engine::file_access, consulted
by the engine's file helpers and the app's file services. The headless
server confines its whole process; the app confines control requests,
the frames carrying input they inject and the background saves they
start, leaving the person at the keyboard and the app's own folders
alone. The screenshot tool now has the backend write its file.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Display Print Size at 100% Zoom divided an assumed 96 pixels per inch by
the display's scale factor, so on a scaled display (150%, Retina) a
document inch came out a fraction of an inch. Nothing measures the
screen's real density, so an inch is now 96 screen points, the reference
density display scaling is set against, at any scale factor. The unused
screen_ppi and pixels_per_point fields go.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* docs: register the MCP server from an installed release
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* docs: drop the third-party link; the Windows path is the default install folder
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* docs: drop the third-party link; the Windows path is the default install folder
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* docs: drop the third-party link; the Windows path is the default install folder
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Double-clicking a tool's button (or tool.options {tool}) now also opens:
- Artboard tool: Artboard Options of the active artboard (the Artboard
tool's while it is in use, else the window's);
- the graph tools: Graph Type for the selected graph (an error without
one), the dialog Object > Graph > Type opens;
- the Symbolism tools: Symbolism Tools Options with the brush the eight
tools share (Diameter, Intensity, Symbol Set Density);
- Magic Wand: the Magic Wand panel.
The Object > Graph dialogs' opener is shared with the toolbar. The new
labels are translated in the eight complete catalogs.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Flare tool keeps its options (Center: Diameter, Opacity, Brightness;
Halo: Growth, Fuzziness; Rays: on/off, Number, Longest, Fuzziness; Rings:
on/off, Path, Number, Largest, Direction) as persistent tool options,
saved with the preferences. The next flare dragged out uses them (the drag
still sets the centre and diameter, and Up/Down the ray count), a click
with the tool opens them filled in, and double-clicking the tool (or
tool.options {tool: "flare"}) opens them to edit: OK keeps them and draws
nothing. Before, the click dialog was the generic parameter form with
fixed defaults and the drag always used the command's defaults.
The new Flare Tool Options dialog lays the four groups out in two
columns; Rays and Rings have their checkboxes, and every value is kept
within its range. Its labels are translated in the eight complete
catalogs.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A selected live polygon now shows Illustrator's Polygon Properties in the
Transform panel and the Properties panel's Transform section: side count,
angle, corner type and radius, radius, side length and Make Sides Equal
(enabled once an uneven scale has made its sides differ). Before, only the
side count and corner radius were there.
object.setLiveShape takes polygonAngle (degrees counterclockwise),
polygonRadius and sideLength (points, centre to vertex / side) and
makeSidesEqual, which drops the uneven scale and shear and keeps the
polygon's centre, angle and mean radius. Each call is one undo step; a
radius or length that isn't a number above 0 is an error. A star stays a
plain path, as in Illustrator.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Curvature tool only edited the path it was drawing. It now edits any
selected path, whatever drew it, keeping its shape except where edited:
a click on a point makes it the current (direct-selected) point and a
drag moves it, re-curving only its two segments (the neighbours keep
their handle directions); Alt-click or double-click toggles it smooth or
corner and Delete removes it; a click on a segment adds a smooth point
without changing the shape, and a drag moves it in the same undo step.
With an end of an open path current, clicks go on from it (the old
segments keep their shape) and a click on the other end closes it.
The edits go through a new path.curvatureEdit command (move, insert,
extend, close), path.convertAnchor and path.removeAnchor, one undo step
each. The tool now claims Delete/Backspace while it has a point to
remove, so the key no longer deletes the whole path.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A run (vectorcraft-cli run, the MCP command_batch tool) had no way to use
an id an earlier step returned. A parameter string that is exactly
$N.path or $last.path now takes that value from step N's result
(0-based), e.g. {"id":"$1.id"}; $$ starts a literal $, and a
reference to nothing fails the step. Objects given to a command are now
used as given: an ids element or id that isn't an object id (or an
unresolved reference) fails instead of the command acting on the
selection. text.setRangeStyle styles the selected type object when no
id is given, as text.setStyle does.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Color books such as the Pantone books a user owns (.acb) couldn't be
opened. They are now read (never written), from public descriptions of
the format: their RGB, CMYK or Lab colors, named with the book's prefix
and suffix ("PANTONE 185 C"), as spot colors unless the book marks
them as process colors, leaving out the pages' unnamed padding. They
open from Window › Swatch Libraries › Other Library…, File › Open and
the user library folder like .ase files.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Creating a Vulkan instance loads every installed Vulkan driver into the
process, and a faulty one (Intel's igvk64.dll) crashed VectorCraft
before its window appeared. On Windows the window now starts with
Direct3D 12, falling back to OpenGL, as PdfCraft does; WGPU_BACKEND
(e.g. vulkan) still chooses others.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Illustrator EPS and .ai type is made whole from the file's text
document, shown or hidden: point type, area type (a story in several
frames as threaded type that flows when the file opens) and type on a
path, with its fonts, size, leading, tracking, scaling, baseline shift,
fill and stroke colours (grey, RGB or CMYK), alignment, indents and
paragraph spacing. The page's drawing of that type, often in pieces, is
left out; where the text document can't say, type that shows still
comes from the page.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The report kept a placed document's LINKED FILES and FONTS inside its parent's list. Each document
now gets its own sections, the packaged one first and unchanged (no Document: line), then each
placed document's, headed by its file. Drops a debug_assert and an unneeded mut, runs rustfmt, and
documents the nested packaging in docs/mcp.md and the ROADMAP.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Add Fonts adds only files a folder search found.
- macOS declares .suit as the extension of a font suitcase
(com.apple.font-suitcase), and the font scan reads a suitcase
whatever its name. A search considered only suitcases without an
extension. It now also considers files whose extension is .suit, in
any letter case, and reads one only when it is a suitcase font.
- Add Fonts copies at most 256 MB a file. A search also read larger
font files, and a search that found one for a font could end before
it found a smaller copy. A search now skips font files over 256 MB.
Docs: docs/mcp.md.
A folder search reads at most 8 MB of each font file. The suitcase
reader reads a suitcase font's resource fork whole, up to 256 MB.
Before this change, the search applied its limit to each font only
after that read. One search thread could read 256 MB from a single
suitcase and hold a copy of its fonts as well. The search now reads a
suitcase font only when its resource fork is 8 MB or less. The font
scan still reads each suitcase font's resource fork whole, up to
256 MB.
Docs: docs/mcp.md.
When a document opens with fonts that aren't available, fonts used
only in its symbols included, VectorCraft lists them in a Missing
Fonts dialog after the missing linked file questions, one document at
a time, with Find Fonts and Close. Find Fonts opens Type › Find Font
on the first missing font of the layers' type, to replace it. After
Find Fonts or Close the dialog doesn't open again for that open; when
another dialog replaces it, it opens again once that dialog closes.
Search Fonts Folder (the Fonts folder File › Package writes next to
the document) and Find in Folder… search a folder and its subfolders
for the fonts' files, and Add Fonts copies the files the user chooses
into a Fonts folder next to the preferences. The desktop app and
vectorcraft-cli read that folder with the system's font folders. Type
› Find Font has a Find in Folder… button too when fonts the document
uses are missing. The web app shows no dialog; a status message says
how many fonts aren't available.
- text.missingFonts lists each missing family and style once,
whatever version the document's type names, and leaves out CSS
generic families such as sans-serif. text.findFontFiles searches a
folder on up to 8 threads and returns at once; text.findFontFiles {}
reports the search, and {stop: true} stops it. A search reads only
what the font scan reads of font files (their table directories and
name, fvar and OS/2 tables) and, on macOS, of suitcase fonts, and
lists a file for a font only when the file makes the font resolve
exactly. It does not enter app packages, the Program Files and
ProgramData folders, the system's folders at the root of a volume,
the Shared and Public folders in Users, a home folder's Library,
AppData, Applications, snap and dot folders, a Library folder's app
data folders or the folders the environment names for apps, and it
skips other hidden folders and does not follow links below the
picked folder. It ends after 60 s by default, after 10,000,000
entries listed, with more than 1,000,000 folders waiting, after
10,000 font files read or 1,000 kept, or once every font has a file;
Stop and Close end it too.
- text.addFontFiles copies only files the last search found. Of
those, it copies only regular .ttf, .otf, .ttc, .otc, .woff and
.woff2 files and suitcase fonts with their resource fork, at most
256 MB a file and 1 GB in all. It never replaces a file: a file with
the same contents is kept, and when another file has that name, the
copy gets a number (Name 2.otf). The fonts are then scanned again,
and type set in them redraws.
- ui.missingFontsDialog and ui.findFontsInFolder open the dialog for
agents; docs/control-protocol.md lists its fields.
- File › Package gives a font file whose name has no font extension
the extension that matches its data (.ttf, .otf or .ttc).
- vectorcraft-text adds set_app_font_dir, which system_font_dirs
reads, WantedFonts, which reads a font file's names as the font scan
does, is_font_file and is_suitcase. #762 split its face reader, which
now takes read budgets: file_face_names_within tries the suitcase
reader first, and reader_face_names_within applies the budgets to
each font. vectorcraft-format adds write_new_with.
Docs: docs/mcp.md, docs/control-protocol.md, ROADMAP.
A letterhead saved by Illustrator 28 without PDF compatibility wouldn't
open: "its editing data can't be read (it ends inside a layer)". Its
layer starts with a /ForeignObject (non-native art: the content of a
placed PDF), whose /Data entry is the PDF as ASCII85 in comment lines.
ASCII85 includes `_`, so about one line in 85 starts with `%_`, which
the lexer reads as hidden tokens; a `(` in such a line opened a string
that swallowed the dictionary's end, the rest of the art and the
layer's LB.
The reader now skips to the data's `~>` after `/Data ,` in a
/ForeignObject, as it already did for a /Binary dictionary's ASCII85,
and leaves the non-native art out with a note (nothing draws its PDF
from the editing data yet).
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_017ZwZjADUZP4VzvrFGpiZch
- Fit to Artwork Bounds fits the art exports draw: hidden objects and
layers, guides and template layers don't count, and the bounds stop at
a layer's clip.
- The comparison with the page catches an object one draws that the
other doesn't (pixels whose neighbours all differ, away from type), a
light colour against white, and, for an EPS whose page is its art's
box, art the layers print outside it.
- textAs: outlines opens a .ai whose type shows from its PDF part, which
has the outlines.
- document.open takes editingData: false to open an Illustrator EPS or
.ai as its page or PDF part only, for print pipelines.
Part of #637.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
On a desktop with a Ryzen integrated GPU without a monitor and an NVIDIA
card driving both monitors, Automatic (power saving on Windows) picked
the integrated GPU; Windows presented every frame across adapters and
the integrated GPU's driver reset, losing the graphics device or taking
every monitor down for minutes (same bug as pdfcraft#378).
Automatic now asks the system which GPU drives which display (Windows:
EnumDisplayDevices through winsafe; Linux: /sys/class/drm) and ranks the
GPU driving a display, and among those the primary display's, ahead of
the power preference. Where the system can't say, or no adapter's PCI
ids match (OpenGL, Metal), the order is the power preference's as
before, so nothing gets worse. Power Saving and High Performance chosen
by the user, and WGPU_POWER_PREF, keep ordering by kind alone.
The log now lists the display GPUs, which adapters drive a display, and
the adapter drawn on with the reason, the first question in every
black-window report. Tests cover the device-id parser, the rankings
(desktop with all monitors on the discrete GPU, hybrid laptop, a monitor
on each GPU, no match), the sysfs reader and a live EnumDisplayDevices
call.
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_017ZwZjADUZP4VzvrFGpiZch
swatch.library.copyToUser {library} copies a library loaded from
another folder into the user library folder of the desktop app. A
.vcswatches, .gpl or .ase file is copied as it is; the swatches of a
document and a library loaded from the data or dataBase64 parameter are
written as a .vcswatches file. The copy gets a name that no file in the
folder has, and when a file with the same extension and bytes is
already there, that file is used. The library is then listed as User
Defined only. Until the app quits, commands given its loaded id use the
copy, unless another library is loaded under that id. Without a user
library folder (the web and headless sessions) the command is disabled.
A file with the same extension and bytes as a User Defined library
opens as that User Defined library. The unchanged original of a copied
.ase file is one such file. Graphic style libraries open the same way.
Japanese now translates the status-bar and error messages (`@msg`
templates) like Spanish, French, Italian, Russian and Ukrainian do:
556 rows at the end of ja.tsv, the 498 message literals the test scan
finds plus the 58 that the other catalogs also carry (web start-up,
relinking, export notes, PostScript read errors).
`ja` joins COMPLETE_MESSAGES, so complete_languages_translate_every_message
keeps it complete. The registry comment, docs/development.md and the
ROADMAP line now list Japanese with the other five. The messages
themselves stay English for agents and MCP.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
As in Illustrator, the Pen shows its continue cursor over an end of any
open path, selected or not, and a click there selects the path and draws
on from that end (reversing it from its first end). While drawing, it
shows a join cursor over an end of another open path, and a click joins
the two into one path, in one undo step, which finishes the path.
path.join takes {ids: [a, b], ends: ["first"|"last", "first"|"last"]}
to join the ends asked for (the Pen's join); without them it joins the
selected paths' nearest ends as before. Joining a path with itself, or
anything that isn't a path, is an error.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The source audit linked commercial template listings and other pages it
didn't use, and described the environment it ran in. Keep the two sources
the corpus uses, say in a sentence what kinds of sources were left out and
why, and state plainly that reopening our output in Affinity is still to do.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The font scan read only the macOS font folders and the Additional
Fonts Folder, so fonts that apps and font managers register with
CoreText from their own folders were missing from the font menus, and
exports set such type in the fallback font. CoreText's font manager
lists them with the installed fonts.
- `mac_fonts.rs` lists the files of the fonts the font manager has
available (`CTFontManagerCopyAvailableFontURLs`, through
objc2-core-text), keeping only file URLs as `open_documents.rs` does
(#433). The desktop app and `vectorcraft-cli` install it as they
install the DirectWrite lister on Windows, and the scan reads the
files outside the font folders in place.
- The scan leaves out faces with no outlines the font engine draws (no
glyf, CFF, CFF2 or VARC table), on every platform. CoreText lists
Apple's PingFang UI interface font (macOS 27), whose outlines are in
an hvgl table; if the scan cataloged it, PingFang SC would count as
installed, and Chinese characters in fallback text, Japanese kanji
included, would draw blank.
- Tests: the list holds the installed fonts by full path, a font
registered from another folder is listed while it is registered, and
a face without outlines the engine draws isn't cataloged.
The Save Swatch Library dialog lists Swatch Exchange (.ase) as a
format, and swatch.library.save takes format: "ase" or a path ending
in .ase. Each solid color keeps its model (RGB, CMYK, Lab or Gray) and
its type (spot, global or process), and color groups stay groups.
Gradients and patterns are left out, and a tint swatch is written as
the color it shows. Without a path or user: true, the command returns
the file as dataBase64.
A swatch exchange library opens under the name of its file. When Save
Swatch Library or Save Graphic Style Library saves to a file, the save
panel suggests the Name from the dialog as the file name, as a save to
User Defined does, and the web app downloads the file under that name.
A name made only of dots and spaces, such as "...", gives the file name
Library (Library.vcswatches) in place of a hidden file.
palette_io::write returns the file's bytes. A property test writes
generated libraries and reads them back, and an import fuzz test loads
mutated copies of a file the writer wrote.
Clippy 1.99.0 added `chunks_exact_to_as_chunks`, which fails `cargo xtask ci`
at its clippy step. Eight uses of `chunks_exact(_mut)` with a constant size now
use `as_chunks(_mut)` (stable since 1.88, within the 1.95 minimum): four in
crates/affinity, three in crates/effects and crates/engine tests, and two in
xtask's sha256. docs/development.md says the gate targets the current stable.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Replace the Trunk post_build hook packaging/web/copy-fonts.sh with `cargo xtask web-fonts` (xtask/src/web_fonts.rs), so the web build only needs trunk, the wasm32 target and cargo, with no POSIX shell, and works the same on Windows.
The new task reuses crates/text/build/web_fonts.rs for list parsing and URLs, so build.rs and the copier can't disagree on fonts/<sha16>/<file>. It still does nothing without CRAFT_FONTS_DIR, checks each file's SHA-256 against the manifest, and copies the licence next to each face. A listed face that an older craft-fonts checkout lacks is now skipped with a warning, as build.rs does, instead of failing the build. A relative CRAFT_FONTS_DIR is resolved from the workspace root.
Update the references in Trunk.toml, fonts.rs, build.rs, craft_fonts.rs and web-fonts.txt, and document the web build's requirements in docs/development.md. Add tests for the copy, a hash mismatch and the no-op case.
Signed-off-by: Ahmed Moussa <moussa.ahmed95@gmail.com>
Double-clicking the MSI used to flash a progress bar and close, so users couldn't tell it had
installed. It now opens a wizard: Welcome, install folder (remembered across upgrades), Ready,
progress, and a Finish page that says where to find the app with a ticked "Launch VectorCraft"
box. Every page names the full version, pre-release tag included. The wizard art is drawn from
the app icon at package time; msiexec /qn still installs silently.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Libraries panel was a placeholder: it invited dragging art onto it,
but nothing happened. It now keeps local libraries (no account, no
cloud), as Illustrator's Libraries panel does:
- drag art off the canvas (or a swatch) onto the panel to add it, or use
+ to add the selection's graphic, fill or stroke colour, character
style or paragraph style;
- drag a graphic onto the canvas (or double-click it) to place a copy,
click a colour to paint the selection through the active Fill/Stroke
proxy, click a style to apply it to the selected type;
- the library picker and the panel menu create, rename and delete
libraries; each is a .vclibrary file in a Libraries folder next to the
preferences (session-only in the web app, headless sessions and runs
without preferences).
Engine: library.list/get/setCurrent/create/rename/delete/add/use/
removeItem. A graphic is stored as a native document with a thumbnail:
adding copies as Copy does and placing pastes as Paste does, resources
and swatch-name conflicts included. Using a style adds it to the
document and applies it in one undo step.
Clipboard::to_document gave its layer the id u64::MAX, which made a
saved copy overflow Document::fix_next_id when read back; the layer now
takes an id above the objects', and fix_next_id saturates.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Desktop builds made with CRAFT_FONTS_DIR now load craft-fonts' 12 Arabic families into the document font database. Noto Sans Arabic comes first and is the fallback for Arabic text. Cairo, Tajawal, Almarai, IBM Plex Sans Arabic, Noto Kufi Arabic, Amiri, Alexandria, Fustat, Reem Kufi, Aref Ruqaa and Gulzar can be picked by name from the font menus.
The web build doesn't embed these fonts because they would make the wasm too large. It fetches them from beside the wasm instead:
- crates/text/web-fonts.txt lists each face as startup or background.
- build.rs turns that list into vectorcraft_text::WEB_FONTS, with each face's URL (fonts/<sha16>/<file>) and SRI hash taken from the craft-fonts manifest.
- packaging/web/copy-fonts.sh, a Trunk post_build hook, copies the font files and their OFL licences there.
- apps/vectorcraft-web/src/fonts.rs fetches Noto Sans Arabic before the app starts, so Arabic text never shows as boxes. It loads the other faces in the background and logs `web font …` for any that fail.
Because fonts can now arrive after startup, the Type tool's layout cache also checks the font database's generation, so text lays out again when new fonts arrive.
_headers and .htaccess serve fonts/* as font/ttf and cache it as immutable. packaging/web/README.md and docs/development.md explain the fonts folder, and ROADMAP.md lists the Arabic typefaces under Type. Also adds Ahmed Moussa to contributors/people.toml.
Signed-off-by: Ahmed Moussa <moussa.ahmed95@gmail.com>
The PDF writer defaulted to Convert Text to Outlines, so every glyph of
every page became a path: a text-heavy PDF grew several times larger on
export (a 7-page document went from 27 KB to 226 KB) and its text could
no longer be selected or searched. Illustrator's PDF presets embed font
subsets and keep live text; that is now the default too
(advanced.outlineText: false). Outlining stays available as an option,
fonts that can't be embedded still become outlines with a warning, and
printer's marks (page information) are drawn as shapes as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
`artboard.setProps {scaleArt: true}` maps the art fully inside a resized
artboard (as Move Artwork with Artboard gathers it) and its artboard guides
from the old rectangle onto the new one, each side by its own ratio, in one
undo step, and returns the ids scaled. Strokes, effects and corners follow
Scale Strokes & Effects and Scale Corners (`strokes`, `corners`), pattern tiles
Transform Pattern Tiles (`patterns`); locked and hidden art follows
`lockedAndHidden` (default: prefs moveLockedWithArtboard). The resolved choices
are journaled, so a replay scales the same objects the same way. A move that
keeps the size scales nothing.
The Artboard tool's `scaleArt` option (saved with `moveArt`) makes handle
drags proportional, as the public help describes, keeps them proportional at
the 1 pt minimum, and leaves the scaled art out of the Smart Guide targets.
Move and Scale Artwork with Artboard are check boxes in the Control bar and
Properties' Edit Artboards; the artboard size fields there and in the
Transform panel pass the option. Translated in the eight catalogs that have
Move Artwork with Artboard. docs/mcp.md and the ROADMAP updated.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Such a file's PDF part is a placeholder page, which was refused. When
the file carries editing data, it now opens from that alone: its
structure as a PDF-compatible file's, its point type made from the text
document, and type it can't make (area type, type on a path) left out
with a note that marks the import as lossy. Without editing data, or
with pages picked or layers off, the placeholder is refused as before;
damaged editing data says so.
The page-order note is no longer given when the page has no type.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The layers reader of the editing copy (operators translated into
PostScript for the interpreter, any file with RGB colours, gradients,
transparency or images falling back to its page) is replaced by a reader
of the whole structure (import/ai): layers and sublayers with their
options, groups, compound paths, clipping groups and layer clipping,
names, hidden and locked objects, RGB, CMYK, grey, named and spot
colours, gradients, transparency, fill rule, overprint, embedded images
with their alpha channel, guides and every artboard, and objects drawn
as their look when they have several fills or strokes, effects or a
brush. Containers: Zstandard, zlib or plain data in EPS and .ai.
The text placement, the comparison with the page and the overwrite guard
stay around it. The page's type takes its text object's place without a
group; the comparison is by lightness, on nothing, without layers that
don't print. Symbols, pattern fills, placed files and unknown operators
make the file come in as its page where they show, and are left out of
layers that don't.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Paragraph panel › Kinsoku Set (with the East Asian options) and `text.setFormat {kinsoku}`, as
decided in #633:
- Hard: today's set, so existing documents don't change; the default, and not saved.
- Soft: as Hard, except that 々, the prolonged sound mark ー (JLREQ cl-10) and small kana (cl-11)
may start a line: JLREQ's level 3 line-breaking rules (Appendix C.3). Half-width forms aren't in
those classes and stay off the line start.
- None: no kinsoku.
The setting reaches every break the composers consider (greedy, every-line and hyphenation
points). Reset Panel returns to Hard.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Laser and cutter software skips HATCH entities, so shapes that were only
filled (type, traced art) reached it as nothing. Each filled area is now
written as its outlines (polylines and splines, in the fill's colour)
followed by the solid hatch; R12 keeps writing the outlines alone.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Metal reports no PCI ids, so both GPUs of a dual-GPU Mac had the adapter key
Metal:0000:0000. When the integrated GPU failed at start-up, the restart left
out both and the app quit, although the discrete GPU works. An adapter without
ids is now keyed by its name, so the restart leaves out only the one that
failed.
The failure itself was wgpu's indirect-call validation compute shader, which
OCLP-patched Metal on an Iris Pro can't compile. Nothing in VectorCraft or
egui draws indirectly, so that validation is off (WGPU_VALIDATION_INDIRECT_CALL=1
turns it back on).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The panel laid out a row (with its thumbnail and several whole-document
lookups) for every open row each frame. A layer of 5,000 groups of 10 paths,
all open, took about 29 s a frame headless. Now the rows shown are listed once
per document change (with their layer colour and dimming worked out on the
way down) and ScrollArea::show_rows lays out only those in view: 0.4 ms a
frame. A row highlighted out of view is scrolled to.
The open rows move from UI state into the document's state
(DocState::layers_open, OpenRows): a document opens with only its top-level
layers open, and native files save the open rows (Document::layers_open,
written only when not the default, at save time like the view, so opening or
closing rows never marks the document modified).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
French now sits between Spanish and Italian (es, fr, it, ru): the
plural rule, the LANGUAGES registry entry (so the Language menu lists
Français before Italiano), the locale tests, the fr() helper and
french_reads_as_french. README, ROADMAP and docs/development.md list
the languages in the same order.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Add fr.tsv with the full interface coverage: every menu string, every
tl! literal, the plurals and the status/error messages (@msg).
Registered as complete_menus with the French plural rule (0 and 1 are
singular); every fr-* locale (fr-FR, fr-BE, fr-CA, fr-CH …) resolves
to it. Keeps the product, workspace and perspective preset names in
English like the other complete catalogs.
Tests: french_reads_as_french; fr added to KEEPS_MENU_NAMES and
COMPLETE_MESSAGES; the Latin-script glyph test covers French letters
and the no-break space; locale tests use de-DE as the unsupported case.
Clean-room: written from the meaning of the English labels in the
vocabulary French-speaking users of vector illustration software know
(Plan de travail, Nuancier, Contour, Fond, Tracé, Calque). No other
application's localisation was copied.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Character panel menu › Character Alignment gains ICF Top/Right and ICF Bottom/Left, and
`charAlign` takes `icfTop` / `icfBottom`: a character smaller than the largest on its line lines
up its ideographic character face's top (right, vertical) or bottom (left) with the big one's.
`FontFace::icf_margins` places the ICF inside the em box as the OpenType baseline tags define it
(https://learn.microsoft.com/en-us/typography/opentype/spec/baselinetags): `icfb` / `icft` of the
BASE table's horizontal and vertical axes against `ideo` / `idtp` (else the OS/2 typographic
descender and one em), for Han ideographs (else kana, else the first script). Without them, as that
page allows, the average ink box of some ideographs and kana; a face without ideographs uses its
em box.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Document symbols placed inline in a run of type (beyond Illustrator; like
InDesign inline anchored objects): TextRun.inline holds the symbol, scale and
shift; the run is one U+FFFC laid out as a glyph sized to the art, centred on
the cap height. text.insertInline and Type > Insert Inline Symbol; editing
keeps the graphic whole; canvas, SVG (<use>) and PDF draw the art; Create
Outlines turns it into a symbol instance.
The DirectWrite font lister (#594) was installed in the desktop app only:
`vectorcraft-cli` (convert, run, MCP) didn't see fonts that font services
such as Adobe Fonts load on Windows, so its exports set such type in a
fallback font.
- The CLI shares the app's `system_fonts.rs` and installs it first thing
on Windows (not the win7 build). The text crate stays free of unsafe
code; the CLI denies unsafe code instead of forbidding it, so the
shared module's own allowance applies.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
While the Free Transform tool (E) is active, a small box at the canvas's
top left holds Constrain over the tool's three modes: Free Transform,
Perspective Distort and Free Distort. Before, the modes were reachable
only by modifier keys or `tool.setOption`.
- The buttons set the tool's `constrain` and `mode` options through
`tool.setOption`, as agents do. Constrain acts as Shift held and is
greyed in the distort modes, where it does nothing. The modifier keys
keep working while dragging.
- Theme tokens; Constrain shows the link icon, Free Transform the tool's
own icon, the distort modes are drawn in code. Tooltips translated
(cs, es, it, ja, pt-br, ru, zh-hans, zh-hant).
- `ui.inspect` reports where it shows (`freeTransformWidget`).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
File › Open, Other Library… and the User Defined library folder read
.ase files. Colors keep their model, global and spot colors stay global
and spot, and color groups stay groups. The library readers take a
file's bytes. On the web, File › Open passes a swatch library file to
swatch.library.load as dataBase64 instead of as lossy UTF-8 text.
Swatch and group names in a library are now unique, in .gpl files too.
Add to Swatches puts each color group of a library into one document
group when the document already has a swatch with the group's name.
The library fuzz helpers fail when a command panics.
Each paragraph has its own alignment, indents, spacing, hyphenation, tab
stops and paragraph style (TextObject.paras; para stays paragraph 0's, so
old files and readers work). Layout, editing (split/merge), threads, the
Paragraph/Tabs/Paragraph Styles panels, ranged text.setStyle/setFormat/
tabs/paraStyle.apply, SVG export/import and the fuzzers follow.
Area Type Options gain a fit: none, autoHeight (Illustrator's Auto Size:
the frame's height follows the text after every edit, resolved in
refresh_bounds inside the edit so it shares the edit's undo step) and
shrinkText {minPercent} (beyond Illustrator: overflowing text scales its
sizes, leading and baseline shifts down at layout time by the largest
factor, in 0.1 pt steps of the first run, that fits). The Auto Size New
Area Type preference now applies. text.areaOptions and document.inspect
report overflow and the shrink factor; the Area Type Options dialog
offers fit and first baseline as dropdowns.
A `.ai` file's PDF part is what apps that don't read VectorCraft's native
document open. It had no PDF layers: hidden layers and sublayers were left
out of it and everything else was flat page content.
- `.ai` files (Save As, exports, the CLI) write PDF layers unless
`createLayers` is false (a PDF standard still decides for itself).
- createLayers writes sublayers too, as optional content groups listed
under their layer's in `/Order`, hidden ones off with their art.
- A layer's form gets a box round the whole page instead of its art's
bounds, which readers made a clipping group of, gathering a layer's art
and its sublayers' in one group.
- PDF import: art inside a group, clip or form that dissolves into its
parent keeps the layer it was drawn in, so sublayers nested in their
layer's content import as sublayers.
- Save PDF: "Create PDF layers from layers and sublayers" (ja, es, it,
pt-br, ru, zh-hans, zh-hant).
Hidden objects (not layers) still aren't in the PDF part.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Area Type Options > Align: Top / Center / Bottom / Justify (AreaOptions.verticalAlign,
LayoutOptions.vertical_align). Each row/column cell is aligned on its own; rectangular
cells shift their lines, other frames and text wrap reflow until settled without
losing text. Justify shares the leftover space equally between line gaps. Area Type Options
shows Align and First Baseline as dropdowns (the parameter dialog's choices table).
Font services load their fonts with GDI at run time, from files in their
own folders, without installing them: neither the font folders nor the
registry list them, so the font scan never saw them. DirectWrite's system
font collection holds them since Windows 10 1607.
- vectorcraft-text: `set_platform_font_files` lets the app name font files
the platform knows; each scan and each check for installed fonts asks
again and reads those outside the font folders. A file named by itself
is read whatever its extension (font services keep fonts in files
without one).
- The desktop app lists the local files of DirectWrite's system font
collection on Windows (`system_fonts.rs`, through the windows crate
already in the build), read in place.
- The check for fonts installed while the app was in the background runs
on a thread: DirectWrite's check for updates takes about 50 ms.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Illustrator's Every-line Composer balances the breaks of the whole
paragraph for left/centre/right aligned text too, not only justified
text. VectorCraft only composed justified area text; ragged text was
always broken greedily.
- Model: ParaStyle.composer (vectorcraft_doc::Composer, re-exported by
vectorcraft-text), Every-line by default like Illustrator, saved only
when Single-line. layout() reads it from the object;
LayoutOptions.composer is now an Option override for tests.
- Composer: the justified gate is gone. Ragged lines never shrink (a
line that doesn't fit ends the node), badness is 100*r^3 with r = the
line's leftover space over a rag zone of 1/6 of the width (finite for
lines without spaces); the last line is free unless shorter than 1/3
of the width (measured in zones of 1/3), so a lone short word on the
last line pulls a word down. Hyphens cost 25 in ragged text (50 in
justified). Knuth-Plass fitness classes with adjacency demerits
(justified 10000, ragged 1000). Lines past the last width change
share one node key, active nodes are capped (4096) and paragraphs
over 200k glyphs break single-line, so work stays bounded; ragged
tries a tolerance of one rag zone, then any fitting breaks, then
falls back to greedy.
- text.setFormat {composer: "singleLine"|"everyLine"}; the Paragraph
panel menu's composer items work with a check mark (Reset Panel goes
back to Every-line).
- Tests: ragged Every-line moves "or" down in "Destroy all creatures
with toughness X or less." where greedy leaves "less." alone; the rag
of long paragraphs is no worse than greedy (sum of squared leftover
and of neighbour differences); Single-line is greedy; the 10k-char
layout budget covers ragged text; command test with undo; native
format round trip (rich_session's text is now Single-line).
No existing test needed changing: the justified tests and
hyphenated_layout_adds_hyphens (ragged, now Every-line) still pass.
Auto alignment (start of the paragraph direction) is ragged; a wrapped
line's Mojikumi flush opening bracket gives its half em back to the
composer, as in the line loop; tests cover Auto in both directions.
Layout of 10k chars, release: justified Every-line 5.6 ms, ragged
Every-line 5.8 ms, ragged Single-line 4.8 ms.
Add ru.tsv with the full interface coverage: every menu string, every
tl! literal, the plurals (one/few/many) and the status/error messages
(@msg). Registered as complete_menus with the Russian plural rule;
every ru-* locale resolves to it. Keeps the product, workspace and
perspective preset names in English like the other complete catalogs.
Tests: russian_reads_as_russian, russian_plurals_have_three_forms,
russian_glyphs_are_available_without_system_fonts; ru added to
KEEPS_MENU_NAMES and COMPLETE_MESSAGES.
Clean-room: written from the meaning of the English labels in the
vocabulary Russian-speaking users of vector illustration software know
(Слой, Образцы, Обработка контуров, Монтажная область, Обводка,
Заливка), matching the Russian catalog of the sibling app PhotoCraft.
No other application's localisation was copied.
An SVG used as an animation rig lost its hidden alternates and their
rotation pivots: the exporter left hidden objects out (only hidden layers
could be kept), and the importer dropped data-* attributes.
- SVG export: hiddenLayers (on by default for document.save, as before)
now keeps hidden objects too, each written display="none" on its own
element (path, image, text or group). Exports still leave them out
unless asked; the CLI's convert asks, as a conversion keeps the
document.
- An object's own data: ObjectAttributes.data, the data-* attributes in
order (ours, data-name and data-vc-*, aside). The importer keeps them on
the objects and layers they belong to (at most 64 per element), the
exporter writes them back, the native format saves them (missing in
older files), and object.setProps {data: {key: value|null}} sets or
removes them.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
file.saveAs and document.save wrote a PDF-compatible .ai, but
document.export (and with it the CLI's run --export x.ai and convert
in.svg out.ai, and MCP's export) refused it as a format that can only be
opened, and --help didn't list it as writable.
The .ai encoder is now shared: save.rs's ai_params and encode_ai (a PDF
of every artboard with the PDF options, carrying the native document,
blank pages with pdfCompatible: false) serve Save As and the exports
alike. The .ai format is writable, so document.formats, --help and the
MCP export tool list it; an export leaves the document's own path alone.
Export As and Export for Screens keep leaving .ai to Save As.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Exporting one artboard of many to SVG wrote the whole document's art into
that artboard's file, the other artboards' art outside its viewBox: an
editor opening it showed every artboard's art. A file for an artboard
named in the export (Use Artboards with a range or All, Export for
Screens) now holds the objects over that artboard only, at any depth of
layers, as DXF's crop leaves them; objects reaching into it stay whole
and a clipping layer keeps all of its objects. An SVG with no artboard
named (Save As) still holds the whole document.
Part of #546: Export As with a range writes the chosen artboard alone in
SVG, DXF, PDF and PNG, each file with that artboard's art (tested from
the dialogs).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Windows lists each GPU under both backends, and Vulkan came first. On an
Intel GPU its driver made the whole window flicker black while the
pointer moved; the same machine was fine with WGPU_BACKEND=dx12 or gl.
adapter_order now ranks a GPU's DX12 adapter before its Vulkan one, after
the power preference, so the GPU chosen doesn't change, only how it is
driven. Vulkan stays the fallback (a failed DX12 start restarts on it)
and WGPU_BACKEND=vulkan still picks it. Elsewhere there is no DX12
adapter, so nothing changes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
On macOS the menus are in the system menu bar, laid out as a Mac app's (Illustrator on the Mac as
the reference), and the app settings sit in the VectorCraft menu: About, Settings ▸ (one item per
Preferences page, General… ⌘K), Language ▸, Appearance ▸ (UI brightness), Services, Hide
VectorCraft ⌃⌘H (⌘H stays View › Hide Edges), Hide Others ⌥⌘H, Show All and Quit ⌘Q (the app's own
quit, so unsaved documents are asked about); they leave Edit and Help. Window gets Minimize ⌃⌘M,
Zoom and Bring All to Front; Help is the system's Help menu. Windows, Linux and the web keep the
in-window menu bar unchanged; --in-window-menus or VECTORCRAFT_IN_WINDOW_MENUS keeps it on macOS
too, and so does a menu bar AppKit refuses to build.
One menu model: the in-window menus and the native bar draw the same rows (menus::entry), and the
platform-free native_menu module lays them out, decides when to update (a cheap state hash; labels,
enabled and checked in place, a rebuild only when the structure changes) and hands key equivalents
back to egui as the key presses they were, so shortcuts, user overrides and focused text fields
behave as in the window and nothing fires twice. The muda backend (pinned =0.21.1, macOS only, no
unsafe) is apps/vectorcraft/src/mac_menu.rs, mirroring PhotoCraft's. ui.inspect reports
nativeMenuBar. Translations for the new labels in ja, es, zh-hans, zh-hant, cs and pt-br.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Every drawing tool now asks one snapper (guides::DrawSnap) for the points it
places: the Pen's and Curvature tool's anchors, the Pencil's ends, the shape
tools' start and dragged corner or radius (Rectangle, Rounded Rectangle,
Ellipse, Polygon, Star, Line Segment, Arc, Spiral, the grids), the Type tool's
click and frame and a new artboard's corners. Points land on other objects'
anchors, centres and paths ("anchor", "center", "path") or line up with their
anchors, edges and centres ("align"); hovering shows it before the press, the
Pen's guides end its rubber band, and the Pen lands on the path being drawn
too. Shift keeps a point to its 45-degree step (from Constrain Angle) or a
box's diagonal and slides it along that way into line with a target.
Preferences > Smart Guides > Construction Guides and Angles now act: a drawn
point near a guide through the point it leaves from lands on it.
Before, the Pen snapped only its press and showed nothing, and the shape tools
re-gathered targets on every drag step from the document showing their own
preview, so the dragged corner stuck to where the last step left it.
Performance: targets are gathered once per document state (keyed on the
document's uid and revision, now in ToolContext), from the art in the window,
and sorted, so the anchors, centres and lines near the pointer are found by
bisection. Leaving objects out of the targets no longer looks up each node's
ancestry (quadratic in the document's size): one pruned walk does it, which
also speeds up the Selection tool's moves and resizes.
The direction handles' HandleSnap (#494) is now a DrawSnap holding its own
targets (Targets::for_handle) for the drag: one cache, one lookup.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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