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
Double-clicking a Scatter, Art or Pattern brush in the Brushes panel (or the
panel menu's Brush Options...) now opens its options dialog, as Calligraphic
and Bristle brushes already did. OK runs brush.options and every stroke
painted with the brush redraws.
- Scatter Brush Options: Name; Size (10-1000 %), Spacing (10-10000 %),
Scatter (-1000-1000 %) and Rotation (-180-180 deg), each Fixed (the first
value), Random (between the two values) or Pressure (the first value at
the lightest pen pressure, the second at the heaviest); Rotation relative
to Page or Path. Scatter brushes now keep these modes (`modes`); brushes
saved before keep their look (Random where the two values differ).
- Art Brush Options: Name; Width (1-1000 %); Scale Proportionately, Stretch
to Fit Stroke Length or Stretch Between Guides with the guides' Start and
End (% of the art length); the four Directions; Flip Along and Across.
- Pattern Brush Options: Name; Scale (1-10000 %), Spacing (0-10000 %); the
five tiles (Outer Corner, Side, Inner Corner, Start, End) drawn with their
art or None; Flip Along and Across; Stretch to fit, Add space to fit or
Approximate path.
- All three: Colorization (None, Tints, Tints and Shades, Hue Shift with its
Key Color picked from the art's colours, the most used one by default) and
a live preview of a stroke painted with the edited brush.
Brush definitions from files and commands are now kept within these ranges
(Brush::sanitize, also for Calligraphic and Bristle values); unknown modes,
directions, fits or colorization methods are refused. The brush.options and
ui.brushOptions docs list the new params and fields. Tests: the brush model
(modes, pressure, sanitizing, art colours), engine params reaching the
brush and strokes redrawing, junk params in command_sweep, and headless
dialog tests for each dialog.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
New line graphs put their points at the centres of their categories, the
option's default in the reference app; graphs saved before the option
existed were drawn edge to edge and keep it (a field default of its own).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Line graphs take the Edge-to-Edge Lines option (`edgeToEdge` on
graph.setType). On, the lines run across the whole plot, which is how
they always drew and stays the default, so existing graphs and files
look the same. Off, the points sit at the centres of their categories,
like the columns of a column graph, so a line graph lines up with a
column graph of the same size. The page describes only what the option
does when on; the off position is its opposite.
Radar graphs drew their ring and markers whatever Mark Data Points and
Connect Data Points said. They now follow both, like line and scatter
graphs.
Behaviour: Format columns, bars, and lines, Graph Type options for
line, scatter and radar graphs (Mark Data Points, Edge-to-Edge Lines,
Connect Data Points):
https://helpx.adobe.com/illustrator/desktop/automate-visualize-data/visualize-data/format-columns-bars-and-lines.html
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>
Adds the Video group to the raster effects, after Sharpen:
- De-Interlace…: Eliminate Odd or Even Fields, Create New Fields by
Duplication or Interpolation. The fields are the rows of the document's
raster grid (Document Raster Effects Settings › Resolution, carried to
the filters as PixelSpace::line) counted from the top of the page, so
the result is the same at any zoom and moves with the page. A line
taken out copies the line above (the one below at the top), or takes
the average of the two.
- NTSC Colors (no options, applied at once): colours a composite
television signal can't carry, with luma plus chroma past 110 % of white
or luma minus chroma below -20 % in YIQ, have their chroma cut to fit,
keeping their luma. Saturated yellow, cyan and pure red lose some
saturation; legal colours stay as they are.
Catalogue rows with parameter docs, dialog dropdowns, menu, translations,
tests (effects, canvas, command sweep junk, menu) and ROADMAP.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
In a PDF (or the PDF part of an .ai file), a glyph of a subset font that
no ToUnicode map, CID table or character map of the font program names
was drawn as outlines, so one text object came in split: "RADA" as the
type "ADA" plus the R's outline.
Such a glyph is now looked for in the installed face of the font's name:
the first character (of those single-byte fonts encode: ASCII, Latin-1,
Latin Extended-A, punctuation, the euro and trade mark signs, fi and fl)
whose glyph draws the same outline, point for point within 2/1000 em,
names it. A subset carries the font's own outlines, so an installed copy
of the same font finds every glyph. Other versions of the font, empty
glyphs and glyphs that are no character still keep their outlines, with
the warning as before. Results are cached per glyph.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A Direct Selection (or Group Selection) marquee only gathered the
anchors of paths, so type, images, symbols and other objects without
anchors to pick were never selected by it. They are now selected whole
when the marquee touches them, as with the Selection tool, next to the
path anchors it holds; locked and hidden objects stay out.
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>
With the Gradient tool active, the Properties panel shows a Gradient
section: the type buttons (Linear, Radial, Freeform) and, for a
freeform gradient, Draw: Points or Lines as radio buttons. The Gradient
panel and the Properties panel share the type row and the draw mode
change.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Both fields read their text from the tab stop again every frame, so each
keystroke was lost before Enter or a click away could apply it: the
field seemed to clear itself while typing. They now use the panels' text
field, which keeps the text being typed until it is committed. The
leader keeps spaces (". " for spaced dots), up to eight characters.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With both axisMin and axisMax set, the value axis now runs exactly from
one to the other, split into the tick count (5 when automatic). Before,
the override went through the same rounding as the calculated axis, so
asking for 0 to 12000 drew 0 to 12500 and the columns came out shorter
than the data. With only one bound set the axis is still calculated
around the data, as before.
Ticks are now counted from the minimum instead of added up, so the last
tick lands on the maximum (an offset range like 1e10..1e10+1 lost it to
rounding) and a step too small for the range can't loop forever. An
override too wide for f64 used to give a NaN axis and an internal error
in graph.setType ("min > max, or either was NaN"); it now falls back to
the calculated axis.
graph.setType {} also reports axisMin and axisMax.
Behaviour: Change graph value axes, Tick Values > Override Calculated
Values (minimum, maximum and divisions):
https://helpx.adobe.com/illustrator/desktop/automate-visualize-data/visualize-data/change-graph-value-axes.html
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>
Four Photoshop-style raster effects on the pixel-filter pipeline
(vectorcraft_effects::pixel::pixelate), under a new Effect › Pixelate
submenu between Blur and Sharpen in the Raster Effects section:
- Color Halftone (maxRadius 4..127, default 8; channel1..channel4 screen
angles -360..360, defaults 108/162/90/45): each colour channel is
screened at its angle in square cells sized so a dot of Max. Radius
fills one; each cell's dot covers the share of the cell that is the
channel's coverage-weighted mean there (white stays white, black
black). RGB documents screen R, G, B (channels 1 to 3); CMYK documents
screen C, M, Y, K inks (channels 1 to 4), also when they are drawn ink
plane by ink plane (the K plane uses channel 4).
- Crystallize (cellSize 3..300, default 10): every pixel takes the
colour at the nearest of one jittered point per cell (exact Voronoi
over a 5 x 5 neighbourhood, pruned by distance).
- Mezzotint (type: Fine/Medium/Grainy/Coarse Dots, Short/Medium/Long
Lines, Short/Medium/Long Strokes; default Fine Dots; a dropdown in the
dialog): each channel is turned fully on or off against its own random
threshold pattern, so the object becomes pure colours.
- Pointillize (cellSize 3..300, default 5): one dot of random size per
cell at a jittered point, coloured by the softened object there and as
opaque as the object at its centre, stacked in random order over a
white canvas where the object is.
Lengths are in points (Scale Strokes & Effects scales them) and every
pattern lies in document space around the object's centre, so the
result is the same at any zoom or raster resolution, moves with the
object, and is identical on every redraw (hash noise of the pattern's
cell indices, no state). Work per pixel is bounded whatever the
parameters, which are clamped to their ranges and finite-checked; the
halftone's cell grid is capped by the raster's size and a screen finer
than 3 pixels leaves the image as it is (its average). PixelSpace gains
`channels` so the renderer tells the filters what the channels hold.
Catalogue rows with parameter docs, outsets and reaches for cropping,
menu entries, dialog labels (Max. Radius, Channel 1-4, Cell Size), the
Mezzotint Type dropdown, translations, and tests: parameters and
clamping, tone and coverage, CMYK inks, polygon crystals, pure-colour
mezzotints with ten distinct patterns, dots on a white canvas, the same
result at twice the resolution and when moved, the canvas, PDF and SVG
through the engine, the command sweep with junk parameters, the dialogs
and the menu.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Cap the stops taken from a stitching function (1024), bound linear_points by
depth and by a shared visit count, and stop eval from copying the whole
Functions array on every call.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Painting looked up each selected object's graph by walking up through
parent_of, a search of the whole document per level, so a fill or stroke
change on a large selection grew with the square of the document. The
series art of every graph is now mapped in one pass, and documents with
no graph skip the lookup.
A series index comes from the file: one past the graph's series grew the
graph's series paints to that length. Such a group is no longer taken
for a series.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Group Selection's fill and stroke on a graph series are kept on the graph,
separately per series, and reapplied when its data, type or size changes,
and through save, open and undo.
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>
BFlat
IHAGI-c
Reinhard Schuerer
Ikki Nishihara
Rick
Vikram Bhaskaran
Fabio William Conceição