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>
References can share data, so a damaged fork could make the scan copy one
large resource up to 256 times: cap the total copied like the fork itself.
Off macOS no file has a fork, so the scan doesn't look at each font file twice.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With View › Snap to Grid on, a selection moved with the Selection, Group
Selection or Direct Selection tool lands on the grid: on each axis,
whichever of its two edges and its centre is nearest a gridline (every
subdivision, 9 pt by default) moves onto it. Snap to Grid takes over from
Smart Guides and Snap to Point while it is on, as it does for drawn points.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The test took the first installed family that isn't bundled and expected its
PDF text to stay live. The PDF doesn't embed the font, so the page draws a
stand-in and text stays live only where the installed font's glyphs match it.
With suitcase fonts now found, the first family on a Mac is a condensed
display face whose glyphs don't, so the importer rightly kept outlines and the
test failed. Which family comes first depends on the machine's fonts: the test
now tries up to 200 families and checks the first that stays live.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
macOS lists fonts such as the ones Microsoft Office installs in
/Library/Fonts/Microsoft (Bookman Old Style, Impact, Georgia, Tahoma, ...) but
their files have nothing in the data fork and no font extension: the fonts are
`sfnt` resources in the resource fork. The font scan only read data forks of
.ttf/.otf/.ttc/.otc files, so those families were never cataloged and a file
using one (an EPS naming BookmanOldStyle-Bold) showed the font as missing.
The scan now catalogs a file with an empty data fork and a resource fork by
the fonts in that fork, and loading reads them the same way. The fork reader
(crates/text/src/suitcase.rs) follows Apple's published resource file format,
caps what a damaged fork can make it read and never panics. macOS only.
Tests: the fork reader on a synthetic fork built around a bundled font,
including truncated and garbage forks; a macOS scan of a suitcase file.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Each comparison of the layers' art with the page made a new renderer and
drew both again, so the page was drawn and every image decoded once per
text object weighed, plus once more for the final check. The page is now
drawn once, and the layers keep one renderer (with its decoded images)
across their draws. The page's images keep a renderer of their own, as
their keys can match the layers' without their pixels doing so.
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>
With more documents open than the tab strip holds, the tabs past its
right edge were cut off with no way to reach them. As in Illustrator, a
» button at the strip's right end now lists every open document (the
active one checked) and picks one, and the strip always shows the active
tab, starting later when it has to.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
skip_templates, which exports and thumbnails set, left template layers out
but drew guide paths as hairlines. It now skips guide paths too, as the
SVG, PSD and PDF exports and printing already do.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A text matrix that shears the glyphs (type turned and slanted as a whole)
came in as point type turned by the baseline's angle only: the glyphs stood
square on the baseline, so the type drew somewhere else (60 pt type leaning
by 0.25 came back about 10 pt off its outlines). The placement now keeps the
slant (the em's lean along the baseline per unit of its height, the height
measured across the baseline), lines only join glyphs with the same slant,
and the type object's transform shears by it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.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>
During a Selection-tool drag the bounding box and its handles stayed on
screen while the art moved, so the content looked as if it slid inside
a box of its own. The box now hides once a drag moves, scales or
rotates the selection, as in Illustrator, and comes back on release. A
press that hasn't moved, and a marquee, keep it. Tools gain
`transforming()` (Session::tool_transforming) for this.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Designers coming from page layout apps expect Cmd+Shift+B to bold the
text they are editing. Type > Bold and Type > Italic switch the selected
type (or the Type tool's selection) to its family's own Bold or Italic
face, and back to the regular weight or upright face when it already is,
keeping the face's other words (a Narrow face stays Narrow). There is no
fake bold or slant: a family without the face is left as it is and the
status bar says so. While the Type tool edits text, Cmd+Shift+B and
Cmd+Shift+I apply them; elsewhere Cmd+Shift+B still hides the bounding
box. Both can be given other shortcuts in Edit > Keyboard Shortcuts.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Tabs panel's ruler was a fixed strip in the panel, at no relation to
the text on the canvas, so stops couldn't be placed by eye. Above Text
(Position Panel Above Text) floats the panel just above the selected
text, as wide as its ruler needs to put 0 on the text's left edge and
its marks at the canvas zoom: each stop sits over the column it sets.
Floating panel groups keep a width they are given.
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>
Zstandard frames: the trailing zero padding is trimmed once, not looked
for again before each frame, and at most 4096 frames are read (more is
damaged data). A `]` finds its `[` from a list of where they are rather
than by scanning the operand stack back. Images are read up to 32
million pixels. Tests: thousands of tiny frames, and hundreds of
thousands of unmatched brackets, read in one pass.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The cached entries' key includes two global counters that tests running
alongside bump (shortcut edits, plug-in installs), so the 'kept while the
language stays' check failed now and then. It now compares two lookups
only when the key didn't change between them.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
It was grey dashes only, which vanish on the grey pasteboard. It is now
dark dashes over a light line, so it reads on white artboards and on the
pasteboard alike.
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>
With Line-end Punctuation Half Width, an opening bracket that starts a paragraph now drops the
half-em space before it, as one starting a wrapped line already does (#417): its face starts at
the first-line indent, JLREQ 3.1.5's Figure 71 ① (the principle JIS X 4051 adopts), as decided in
#633. Paragraph-start brackets in documents set with this mojikumi move half an em toward the line
start.
Two mojikumi tests used a bracket at a paragraph's start to test something else (consecutive
brackets, the Japanese–Latin space); they now set it inside the line.
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>
The engine refuses to write over the file a document was read from when
reading it left something out, unless acknowledgeLoss is passed. In the
app that surfaced as an error naming a parameter. File > Save, Save As,
Save a Copy, Save as Template and Export As now ask instead ("Replace
'a.eps', the file this document was opened from?", with what would be
lost), and OK repeats the command with acknowledgeLoss. Closing a
document whose save asks keeps it open, and so does Package.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The README said 176 public documents in its provenance and 189 in its
limits. The thumbnail fitting was done on 176; the collection has since
grown to 189 distinct documents, and the reader opens all of them (298
files with duplicates, no failures). State both. PhotoCraft's copy of
the reader got the same fix in storytold/photocraft#1607.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01GQPh8UDgMyARR5Hat9UchC
shmuelbiller1
BFlat
Matthew Farrow
Riccardo Balloch
Juan Manuel Verges Solanas
Dmytro Matviichuk
HT
imachus
callmeBalloch