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>
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