On hybrid-graphics laptops (an integrated GPU driving the display plus a
discrete one), egui-wgpu's default power preference is HighPerformance, so
VectorCraft rendered on the discrete GPU and its frames were copied to the
display through the integrated one. On an Asus ZenBook with Intel Iris + Arc
the window flickered whenever the mouse moved over it (#306, #305).
The canvas is rasterized on the CPU (vello_cpu) and the GPU only composites
the canvas texture and draws the UI, so the integrated GPU is plenty. The
desktop app now asks wgpu for the power-saving adapter by default.
Single-GPU machines are unaffected.
- Preferences > Performance > Graphics Processor (`gpuPreference`:
powerSaving, the default, or highPerformance), with a note that it
applies after a restart. The app reads it from the saved preferences
before the window opens. WGPU_POWER_PREF still overrides it.
- Help > About and `ui.inspect` (`graphicsAdapter`) name the adapter in
use, and it is logged at startup, for future GPU bug reports.
- Docs (README, docs/development.md) and ROADMAP updated.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The font database made one style per font file, so a variable font
such as Figtree[wght].ttf listed only its default instance (Light).
Faces now also yield their fvar named instances, each a style of the
family named by its subfamily name (the default instance is the face
itself; unnamed or duplicate instances are left out; axes and
instances read are capped). The system font scan reads the fvar table
beside the name table, so installed instances are listed before the
file is loaded and found by name and by PostScript name.
An instance face carries its axis settings: skrifa draws its outlines
and reads its metrics and advances at that location, harfrust shapes
with a ShaperInstance, so layout, the canvas, Create Outlines and hit
testing all use the instance. PDF export embeds it through krilla's
Font::new_variable, SVG @font-face through subsetter's
subset_with_variations: both write a static font of that instance.
Tests build a small variable font in code (test_fonts, via
write-fonts; no font file is committed) and check listing, resolving,
glyphs and advances, PDF and SVG export and damaged fvar/gvar tables;
Bahnschrift and Segoe UI Variable are checked where installed.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
On the in-window menu bar (Windows and Linux) each top-level menu needed
its own click: with File open, moving the pointer onto Edit or Object did
nothing. Now, as on a native menu bar, while one menu is open a moving
pointer that reaches another title opens that menu instead (ported from
PhotoCraft). A pointer resting on a title doesn't switch, and a tall menu
that covers the bar doesn't switch to the title underneath it. The native
macOS menu bar is unchanged.
Also adds a regression test for #292: the Simplify, Offset Path, Move,
Rotate, Split Into Grid and Average dialogs are 366 pt wide in a 1600 pt
window (already fixed by #239).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
A live rectangle kept every transform in its `xf`, so a non-uniform scale
(a bounding-box drag, Object > Transform > Scale) stretched the rounded
corners built in untransformed space into elliptical arcs. Scale Corners
off divided the radii by the mean scale, which only compensated uniform
scales.
LiveShape::transform now folds a scale along the rectangle's own sides
(any rotation or reflection, no shear) into w/h and keeps only rotation,
reflection and position in `xf`, so the radii are document lengths and the
path is regenerated with circular corners. Radii scale by the mean scale
(sqrt|det|), which keep_corners undoes for Scale Corners off. Shears and
plain moves keep composing into `xf` as before, so files saved with a
scale in `xf` keep their exact geometry until next scaled or rotated.
A corner-widget drag starts from the radius as drawn (clamped to fit).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Bump the workspace version 0.3.1 -> 0.4.0 (cargo xtask version set 0.4.0).
Minor release: 50 pull requests since v0.3.1 (#128-#289).
What changes for users:
- Interface languages: VectorCraft > Language picks Automatic or a
language; Traditional Chinese covers the whole interface, Czech and
Japanese every menu.
- Vertical type: kinsoku, tate-chu-yoko and upright CJK glyphs, each
character in its own cell down the column.
- Area type resizes its frame with the Selection tool's handles and is
reshaped with Direct Selection; the text reflows at its size.
- Canvas and tools: right-click context menu, guides dragged out of the
rulers, Cmd+Space / Cmd+Alt+Space zoom, Cmd drags with the selection
tool used last, double-clicking type places the caret, tool
double-clicks (Hand, Zoom, Rotate, Scale, Reflect, Shear), Free
Transform distort and shear by the keys held during a drag, the status
bar's artboard navigator, Symbols panel drag and drop, Shift+punctuation
shortcuts.
- Live Paint treats every path as an edge; Effect > Pathfinder works on
several objects.
- Files: EPS files from other apps open; PDF/.ai import finds fonts by
PostScript name, brings type on a path back as type on a path and keeps
each artboard's art on its own page; DXF Fit/Aligned text.
- MCP: prompts, resource templates, completions and logging; tool
descriptions and replies match the engine.
- Platforms: FreeBSD and Windows on ARM64 release packages; Japanese
fonts come from craft-fonts at build time.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Dragging a bounding-box handle of area type with the Selection tool now
resizes the type area: the text reflows at its own size (threads too)
instead of being scaled, and History says "Resize Type Area". With other
objects selected they scale as before while the area type resizes its
frame. Direct Selection picks the frame's corners and edges and reshapes
the area ("Reshape Type Area", new command text.reshapeArea), and the
selected frame's anchors and outline show. Area Type Options gains Width
and Height. Point type, rotation, Object > Transform > Scale, the Scale
tool and the Transform panel still transform the type.
Root cause: every handle drag previewed object.transform, which folds the
matrix into the text's xf (TextObject::transform), so area type scaled its
glyphs; and Direct Selection's anchor hit test only looked at paths, so the
frame's corners could not be picked. object.transform now takes
typeAreas, which reshapes the frame in text space (xf^-1 * m * xf), and
the tools use it and text.reshapeArea.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
In vertical type every character now sits in its own cell down the column:
"10" and "22" in 「10月22日」 stand side by side in one em, centred on the
column, and 月/日 start right after them. Justified (Justify All) columns
no longer split a tate-chu-yoko block, and tracked or justified upright
characters stay on the column's centre line instead of drifting across it.
Root cause: in 0.3.1 (the reporter's build) upright glyphs were placed by
the font's ascent rather than the ideographic em box, so a font with a tall
ascent (Noto Sans CJK JP, 1.16 em) drew each upright character ~0.28 em
down into the next cell, onto the sideways digits; #208 (after 0.3.1)
replaced that with em-box placement and tate-chu-yoko, which this commit
locks in with regression tests. Two defects of the same kind remained:
Justify All added its inter-character gap inside a tate-chu-yoko block
(the block's second digit slid down the column, away from the first), and
upright glyphs turned about the middle of their advance, which tracking and
justification lengthen, instead of the middle of their own cell.
Tests: the issue's layout with bundled glyphs (cells one after the other,
every ink inside its cell and no overlaps, 2-3 digit blocks one em and
centred, single digits and 2026 on their side advancing by their length,
spaces), the issue's string with craft-fonts' Japanese face (skips without
craft-fonts), Justify All with a block, tracking.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The export tool's description, the docs' open_file and export rows and the
CLI's run/convert usage listed only some formats. The CLI usage now prints
the writable extensions next to the readable ones, both generated from the
format table (export_extensions), the export tool points to its generated
format enum, and the docs name EPS, DXF, EMF, WMF, SVGZ and templates.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
It ran document.save, which keeps the document's own file and format (or
takes the format the path's extension picks), but described itself as a
native .vectorcraft save. The description now says so, with the formats
generated from SAVE_FORMATS, and points to export for the others.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
paint.proxies gives swatch-linked paint as {type, color, swatch, tint};
document.inspect gives it as a label such as "G1 40% (#ff9999)". The tints
section and the inspect_document row now say so.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
A type node's fill, stroke and strokeWidth now come from its first run, as
paint.proxies and its strokeOptions already did; fills and strokes of the
type object itself are reported apart as objectFill, objectStroke and
objectStrokeWidth.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
document.exportSelection (the MCP export tool's `selection: true`) now
replies with `format` and the encoder's `warnings`, the same list a
whole-document export gives: lossy WebP written lossless, blend modes left
out of SVG Tiny 1.2, PDF layers at 1.4 and the rest. A selection export
that approximates nothing replies with an empty list.
Root cause: export_selection encoded with `encode`, which drops the
warnings encode_with_warnings returns, and its reply carried only path,
bytes and bounds. The params doc and docs/mcp.md now describe the reply.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The command palette caches its entries per language and plug-in set
(#243), but each entry also shows its shortcut: after editing shortcuts
the palette kept showing the old ones until the language changed. The
cache key now includes the shortcut editor's generation. From #242.
Co-authored-by: WildfootW <[email protected]>
Co-Authored-By: Claude Opus 5.5 <[email protected]>
#226, #227 and #243 landed without their ROADMAP lines: Shipped so far now
says DXF Fit and Aligned text span their two points, Effect > Pathfinder
groups several loose objects first, and names are never translated; the
Last updated line counts the 2026-10-07 issue fixes. Scores unchanged.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
EPS files the reference app saves (its procsets in the prolog, a binary header with a TIFF
preview) now open as editable art instead of failing with "undefinedresource in Generic". When
their PostScript still can't be read, the palette preview they carry is placed with the usual
warning instead of the file being refused.
Root cause: five interpreter gaps and one preview format. The Generic and Category resource
categories didn't exist, so categories couldn't be made from Generic (now Category holds the
standard categories, defineresource in Category makes new ones, undefineresource is added);
clipsave/cliprestore were unknown (now a clip stack in the graphics state); systemdict's
languagelevel was the operator, not the integer 3; getinterval copied arrays and strings
instead of sharing their storage, so astore into a subarray was lost (arrays and strings are
now views into shared storage, and readstring/readline return the part they fill); and
resourceforall was unknown (now enumerates matching names with * ? \ templates). The preview
is an 8-bit palette TIFF with an alpha sample, which the image crate can't decode: a small
bounds-checked reader handles that layout (either byte order, any strips).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
release.yml's comments sent readers to docs/releasing.md, which never
existed: the workflow was ported from a sibling app without its document.
docs/releasing.md now covers how a release is cut (version bump with
cargo xtask version, the release branch, the draft, publishing, test runs
with a version override), what each job builds and how (macOS universal
signing and notarization, Windows x64/x86/arm64 with the PE checks and the
two signing options, Linux packages and the glibc 2.35 floor behind the
ubuntu-22.04 runners, FreeBSD in a VM, the web build, craft-fonts), the
draft release job and the signing secrets. Every detail is checked against
this repository's workflow and packaging scripts. The README links it.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
panels::label_or_name and dialogs::shown_names applied the same rule; it
now lives once as i18n::label_or_name (explicit language, testable) and
both delegate to it. zh-hant gains the two normal text style names the
Character and Paragraph Styles panels translate.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Panels passed names to the translating widgets, so a name that happened to
be a catalog key was translated (a font style "Regular", a workspace called
"Layers"). Font styles, pattern names, recent URLs, ICC profiles, saved
width profiles, user and loaded libraries, plug-in effects and their
parameters, Document Info's artboard/style/font/image rows, text-object
contents in Layers, user text styles in brackets, the Artboard tool's
canvas label and the app-bar workspace switcher now show names verbatim;
built-in entries (Working CMYK, (closest), built-in libraries and effects,
[Normal ... Style]) still translate. Formatted tips around a name are
translated as templates only (panels::label_or_name, library_name).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Lists and headings that mix our labels with names no longer send the
names through the catalog, so a preset, printer or plug-in called
"Regular" or "Black" keeps its name in every language.
- dialogs::shown_names / mixed_dropdown: translate only a list's built-in
entries and show the rest with widgets::dropdown_names (same indices).
- Artboard lists (Save for Office, Save for Web, save options) and
plug-in choices: dropdown_names.
- Mixed lists translate only their built-in entries: Recolor's Limit to
Library, Save for Web, Print, Save PDF and Export for Screens presets,
printers (Default Printer, PDF File), colour profiles and flattener
presets (profile_pick, flatten::preset_dropdown), perspective presets,
New Document's preset cards and Size, and the shortcut set.
- Plug-in dialogs and plug-in effects are headed by the plug-in's name as
it is; plug-in parameter labels are not translated.
- The confirm dialog shows its message and detail as given, and the
shared frame no longer translates headings again: each heading is
translated by its spec. File > Revert translates its template before
filling in the document's name.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Follow-ups from the review of #205.
- Names that are user, file or system data are shown as they are: menu
items for recent files, saved views, recent fonts and Type > Font,
user swatch and graphic style libraries, saved perspective presets,
custom workspaces (and Reset <name>) and plug-ins no longer go through
the catalog (menus::shows_a_name). widgets::dropdown_names,
menu_item_name and dim_name are the non-translating forms of the shared
widgets, for the panels and dialogs that list such names.
- The command palette builds its entries (shown label, search text) once
per language and plug-in set instead of translating ~700 labels every
frame while a query is typed.
- The locale probe (reg.exe / defaults) runs on a background thread at
startup instead of on the first frame.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
list_says_how_each_font_resolved expected Source Sans 3 Black to be a
substitute, which holds only while the bundled family is the only Source
Sans 3: on a machine with the full family installed (it ships with many
font packs), Black resolves exactly and the test failed. It now asks for
a style no Source Sans 3 has, so the substitute path is tested anywhere.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Right-clicking the canvas now opens a context menu, as the reference app
does. The object under the pointer is selected first unless it already is.
The menu then lists what applies to the selection: Undo and Redo, Cut, Copy,
Paste, Isolate Selected Group or Exit Isolation Mode, Group and Ungroup,
Join and Average, Make or Release Clipping Mask and Compound Path, Make
Guides, the Transform, Arrange and Select submenus, and Export Selection.
On empty canvas it lists Paste, the zoom commands, the ruler, grid and guide
toggles and Select All. Commands that can't run now are left out (Undo and
Redo stay, greyed out), and a press on the canvas only closes the menu. Agents list the same menu with the
`ui.contextMenu.list` control method.
Root cause: the canvas ignored the secondary button except in the toolbar's
tool flyouts; there was no context menu at all. The menu reuses the menu
bar's items, rendering and dispatch; Object > Transform and Arrange are now
shared lists.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Choosing an Effect > Pathfinder item (Add, Intersect, Exclude, Subtract...)
with several loose objects selected now groups them and applies the live
effect to the group, in one undo step, so the result shows at once and stays
editable. A selection that already holds a group, or a single object, works
as before, and agents get `grouped: true` back when it happens.
Root cause: Pathfinder effects combine the contents of a group or layer.
Applied to loose objects, each one got an effect with nothing to combine, so
nothing visibly changed, while the Pathfinder panel's commands (found by the
command search) act on the selection directly.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
DXF text justified Fit now keeps its height and stretches or squeezes
horizontally to run exactly from its first point to its second; Aligned
text scales as a whole, height included, to do the same, its width factor
kept. Attributes justified the same way follow suit. Without a second point,
or with both points the same, the text keeps its size as before.
Root cause: the importer took the angle of the two points and anchored the
text at the first, but kept the text's height and width factor, ignoring the
distance between the points. The text now records that span and, when it
becomes a text object, is measured in the font it is set in, then given the
horizontal scale (Fit) or size (Aligned) that makes it end at the second
point, kept between 1% and 10,000% of its natural length. The import's
bounds estimate uses the same scale.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The Live Paint Bucket now fills areas enclosed by any paths. Crossing
lines enclose faces it can fill, a line across a shape splits that shape's
face in two, and an area enclosed by paths becomes a face even when nothing
fills it (it starts unfilled). Edges are the paths cut wherever another path
meets them, keeping their stroke, so Shift-click paints each piece. Closed
shapes give the same faces as before.
Root cause: Live Paint built its faces from the Pathfinder regions, which
divide the filled areas of closed shapes. An open path counted only as the
area it would fill if closed, which for a straight line is nothing, so lines
divided nothing and the bucket found no face to fill. A new planar map in
vectorcraft-pathops (live_paint) sweeps every path as an edge: an open path
goes in traced there and back, with crossing counts that never cancel; faces
are walked on the resulting graph (holes included), and their fills and the
edges' sources are found geometrically. The sweep runs in an exactly sheared
frame, because it mishandles a horizontal line traced there and back.
Make, Merge, the bucket and Live Paint Selection all use it;
interior_point moves to vectorcraft-pathops with it.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The M8 row is done with what the fidelity pass delivered and what is left; the
Symbols/blends/envelopes/perspective parity row moves from 75% to 88%; feature
parity ~75%; Shipped so far and the README status follow.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- Edit Contents: while an envelope's contents are edited, clicks hit the
content where it sits undistorted and the Selection tool selects it; the
menu item reads Edit Envelope then. No default shortcut: the reference
app's (Shift+Cmd+V) is Paste in Place here.
- A selected envelope shows its mesh (a warp's surface grid, a mesh's own,
a top object's outline) instead of its content's outlines.
- Mesh envelope points get bezier handles (append-only; none stored is the
smooth Catmull-Rom mesh, which the first handle edit fills in exactly
along the grid lines). setMeshPoint takes `handle`; object.mesh.movePoint,
addLine and deletePoint edit mesh envelopes too. The Mesh tool and Direct
Selection drag points and the clicked point's handles (shared MeshEdit);
the Mesh tool adds rows and columns inside mesh envelopes. Reset with
Mesh keeps the shape along the grid with handles; Release returns the
exact mesh.
- Control bar: Edit Envelope / Edit Contents, warp style, orientation,
bend and distortions or mesh rows and columns, Reset, Envelope Options.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The Perspective Grid tool's left and right ground-level points move the whole
grid; the left and right extents are separate (extentRight; Alt drags both,
Shift goes by whole cells); a cell size widget sits up the line where the planes
meet; Shift keeps a vanishing point on the horizon and the ground points and
origin on one axis. The Plane Switching Widget stays put in a corner of the
document window (ViewInfo/ToolContext carry the window as a ScreenFrame), takes
its clicks with any tool while the grid shows (the Perspective Selection tool
too while it's hidden), and 1-4 pick the left, horizontal, right and no plane.
Double-clicking the Perspective Grid tool opens Perspective Grid Options
(show the widget, its corner; perspective.widget.options, kept with the
preferences).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Type and symbol instances attached to a plane keep their art and carry a projection
(Node.perspective.projection, append-only); the canvas and every export draw their outlines
through it (reshape/bake), so they are foreshortened and stay type and symbol instances. Bounds,
hit testing and transforms follow the projection. Object › Perspective › Edit Text
(perspective.editText, or double-clicking with the Perspective Selection tool) shows the type flat
where it is drawn in isolation mode; exiting isolation projects it again. Release with
Perspective keeps their look. Copies, pastes, duplicates and Selection-tool moves keep the
attachment (the art moves as dragged). Flare, spiral and polar grid draw on the active plane, and
so do the click-to-size shape dialogs (perspective.draw `at`: sizes in plane units).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- Images distort as a raster mesh warp: cut by Fidelity into triangles,
each a clipped image under the affine map of its corners (pieces overlap
slightly, no seams; the renderer paints them without clip layers; SVG
writes the pixels once and <use>s them).
- Symbol instances distort as their symbol's art (the renderer's cache
follows edits to the symbol).
- Distort Appearance bakes strokes (filled outlines) and geometry effects
before bending; Distort Linear Gradients bends linear gradients; Distort
Pattern Fills bends the tiles. Opacity masks of the content bend too.
- Bug fix: a rotated, sheared or reflected warp envelope re-warped along
the page axes. Envelopes now keep their own frame (append-only model
field), so the warp turns with the art; move and scale keep it square.
- Live evaluation shares one set of hooks (vectorcraft_doc::live::Hooks,
vectorcraft_effects::{expand_live, expanded_live_group,
expand_live_deep}) between the canvas, Expand and every exporter.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Closed shapes start where they twist least (unless the Blend tool
picked the anchors); dashes, miter limit, arrowhead scale and width
profiles interpolate (caps, joins and brushes switch halfway);
gradients with different stop counts resample to common stops; groups
with different member counts grow the extra members out of a point;
compound steps stay compound paths; type, symbol instances and images
interpolate their transforms, type its colours and sizes run by run.
New blends are knockout groups and the canvas draws them knocked out
as the exports do. Expand and Release keep the blend's name,
transparency, opacity mask and appearance, and Object > Expand expands
blends.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- A compound path's stroke lives on the compound: the tool edits it through
any member, and stroke.widthPoint.* / stroke.widthProfile.set given a member
edit the compound's profile.
- Width points show on every subpath the stroke runs along (not just the
first) for the hovered and the selected stroke.
- Cursors: the Width tool's own glyphs off a stroke, over a stroke (a drag
adds a point) and over a width point or handle (a drag moves or widens it).
- Hint-bar text for the tool.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Holding the brush still keeps Twirl, Pucker and Bloat applying, scaled by the
time held: a new Tool::tick (time supplied by the host: canvas frames, or
`holdMs` on ui.pointer / pointer_gesture events) repeats the last point every
0.1 s, one more dab there. Liquify never touches graphs, meshes, type, symbols,
images, or envelopes, repeats and blends with their contents, nor guides in
selection mode; those under the brush come back in `skipped` with a `warning`
that the status bar shows (UiRequest::Status). A drag applies only the dabs
each new sample adds (the stroke's state is kept between previews), giving the
same result as the whole stroke, so journal replay still reproduces it.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
View > Perspective Grid gains Show/Hide Rulers, Snap to Grid (on by default),
Lock/Unlock Grid and Lock Station Point, with flipping labels and checkmarks (and
Show/Hide Grid's label). Lock Grid stops the grid widgets from dragging; Lock
Station Point swings the other vanishing point around the station point; Snap to
Grid lands drawn corners and moved edges on gridlines within a quarter cell
(perspective.draw/move take snap?); Show Rulers draws a ruler up the true height
line in the grid's units. Gridlines draw in the Define Grid colours and opacity.
New commands perspective.grid.lock/lockStation/snap/rulers (view state).
Existing tests that measure exact perspective moves (two in tests_distort.rs,
the persp_session helper of tests_persp_select.rs) turn snapping off first (it is on by
default and would move their exact corners onto gridlines).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The grid keeps per-plane offsets (leftOffset, rightOffset, groundOffset). Each plane has a widget
(a diamond in its colour) that the Perspective Grid and Perspective Selection tools drag: plain
moves the plane, Shift moves the objects on it too, Alt copies them (perspective.plane.move).
Double-clicking a widget, or ui.perspectivePlane, opens the plane's options dialog (location; Do
Not Move / Move All Objects / Copy All Objects). Object › Perspective › Move Plane to Match Object
(perspective.plane.matchObject). New objects attach where the plane is. Grid edits leave
attached art in place as the reference app does; perspective.grid.set {reproject: true} moves it
with the grid.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- Pins show as soon as the tool has art selected: automatic ones at the
centre and the middle of each limb's end (at least three), until pins are
placed. They stay across tool switches while the selection is unchanged and
a new selection starts afresh.
- The pins live in the document (Document.puppet, never saved) with the rest
shape they started from: every warp starts from it, so warps don't stack and
dragging a pin back restores the original; Undo/Redo take the pins back with
the art. Adding and deleting pins are undo steps too.
- object.puppetWarp gains rest: true (the tool's pins); the new query
object.puppetWarp.pins reads them. A click off the mesh adds nothing and
says so (not-allowed cursor, canvas label); the command refuses such pins.
- The mesh grid covers the expanded art, so tiny art with a wide Expand no
longer allocates millions of cells.
- Tests on groups, compound paths and open strokes.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
A selected blend shows its spine. Direct Selection drags spine points
and handles, the Pen tool adds and deletes points on a selected
blend's spine (object.blend.spine.moveAnchor/addAnchor/removeAnchor).
The straight spine becomes a path on the first edit, its points pinned
to the key objects (append-only BlendSpec.key_anchors): moving a key
moves its end of the spine and the other way round; spines from older
files and Replace Spine still spread the keys evenly. Direct and Group
Selection pick blend keys on the canvas, edits redraw the blend live,
and Release leaves the spine as a path.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
