The appended Interface localization section moves into the roadmap's structure: a
Shipped so far entry, the Type advanced row (45%, CJK composition left), the gap list,
the inventories (16 stubbed menu items; Touch Type the only missing tool) and totals
recomputed from the parity table (75.3%, 211–332 h to feature parity); README Status
follows.
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]>
Type > Font, the Character, Properties and Glyphs panels and Find Font list
every installed font by default, as the reference app does, instead of the
four bundled families. The family dropdowns get a search field that filters
the list as you type (Enter picks the first match) and open on the current
font. Show System Fonts, which no longer means anything, becomes Refresh Font
List (text.rescanFonts): it picks up fonts installed since the app started and
redraws type set in them without editing the document. text.fontList lets MCP
agents list the families and a family's styles.
Root cause: the font lists came from FontDb::families(), which only held the
bundled fonts until something scanned the system fonts (fixed with #130). The
Type > Font menu, rebuilt every frame, now builds its items once per font
change, and renderers lay type out again when the fonts change.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The issue asked for a vector halftone that turns art or an image into
vector dots, lines or shapes by tone, with angle, frequency, shape, mono
or CMYK separations and clipping to the object. Nothing like it existed.
object.vectorHalftone renders the selection offscreen, samples its tone
once per cell of a grid turned by the screen angle and places a shape
whose area follows the tone (circle, ellipse, square, diamond or line).
Mono screens follow lightness in one colour; CMYK screens follow the ink
amounts the CMYK output separates, one screen per ink at the classic
angles, multiplied over each other. Dots are clipped to the art's
outline as real geometry (only the dots crossing it go through a
boolean). It is a command rather than a live effect: the live pipeline
can't sample rendered tone when exporting. Its dialog previews live and
OK keeps it as one undo step.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The issue asked for non-destructive colour adjustments in the Effect menu
and the Appearance panel that work on vector paints, live type and
embedded images. Only the destructive Edit Colors commands existed, and
the live-effect pipeline only knew geometry and raster effects.
Effect > Color Adjustments adds six effects (adjust.*). They recolour,
in stack order, everything an object paints with: fills and strokes
(gradient stops too), type, gradient meshes, embedded images and a
group's members, each colour keeping its model. The Edit Colors walk over
an object's colours moved to vectorcraft_doc::recolor so the commands
and the live effects share it. The renderer draws adjusted art through
its object-effect path (recoloured images cached within a memory
budget), exports bake the adjusted colours (images as recoloured
copies), and Expand Appearance makes them permanent. The effect dialog
shows sliders, a channel menu and a draggable Curves graph, all previewed
live as one undo step.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The issue asked for one-step symmetric shapes, splitting all selected art
along a line and cropping art to a rectangle as real geometry. Only the
freehand Knife and the Scissors existed, and neither works on compound
paths as one shape.
New commands path.mirrorCut, path.lineCut and path.rectCut cut the
selected paths and compound paths (inside groups too) with pathops
booleans against a half-plane or rectangle, and split open paths with
the Knife/Path Eraser helpers. Mirror & Cut reflects the kept half and
unites it with itself (open halves are joined on the axis). The draw2
piece helpers now rebuild compound paths too. Three tools (Eraser group,
original icons) preview the cut live while dragging and commit it as one
undo step; Mirror & Cut's axis and kept side are tool options shown in
the Control bar.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Rotating an object baked the rotation into its geometry and kept nothing
else, so the bounding box, the handles and the Transform/Properties
panels fell back to the page-aligned box (the Rotate field went back to 0).
Root cause: nodes carried no record of their own axes. Each node now
keeps `bbox_angle` (append-only, written only when non-zero), which every
transform turns with the object (mirroring transforms keep the nearer of
the two possible boxes). The geometry is still baked. The selection's box
(`Document::oriented_bounds`) stands at the angle the selected objects
share. The Selection tool hit-tests and scales its handles in that frame,
and the canvas draws it rotated. `object.setBounds` measures W/H and the
reference point along it. `object.rotate {absolute}` turns the selection
to an angle, which the panels' Rotate field now shows and sets. Object >
Transform > Reset Bounding Box (previously a no-op) clears the angle in
one undo step.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
It used to open the New Document dialog. Now it runs the new app.home UI command:
the Home screen replaces the canvas while the documents stay open as tabs;
choosing a tab, or a document opening, closing or becoming active, returns.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Menu bar menus, their submenus, panel menus, the effects menu groups and library
submenus are as tall as their items down to the window's bottom edge, and scroll
only past that (widgets::menu_scroll), instead of running off screen.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
compatibility "1.3" writes a %PDF-1.3 file (its XMP metadata says 1.3
too) without transparency: a copy of the document is flattened first
with flattenerPreset (stored with PDF presets; empty is High Resolution)
and the flattener options over it, see-through image pixels counting as
transparency and rasterized areas clipped to their regions so no soft
mask is needed. Page groups are left out and the writer refuses a file
that would still have transparency. PDF/X-1a and PDF/X-3 share this
path (their version is now PDF 1.3; 1.4 is still accepted and written
as 1.3), and with it the preset, the header and metadata code and the
transparency check. Passwords at PDF 1.3 encrypt with 40-bit RC4
(revision 2). The Save PDF dialog lists PDF 1.3 and picks the flattener
preset under Advanced.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Embed Page Thumbnails gives every page a /Thumb image: the page drawn on
white, 106 px on its long side, without the layers the page leaves out
(the engine draws them; vectorcraft_pdf::page_areas says what each page
shows; PDF/X files get grey ones). Optimize for Fast Web View writes a
linearised file: the objects are put in linearised order and numbering,
encrypted when a password asks (the encryption dictionary goes with the
catalog, PDF layers' groups too), then laid out with the linearization
dictionary, both cross-reference tables and the page offset and shared
object hint tables (the hint stream encrypted like any other). Their
"not applied yet" warnings are gone. Reading the objects back uses the
lexer of encrypt.rs (syntax.rs adds what rewriting needs).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Advanced > Overprint: Preserve (the default; document.exportPdf
advanced.overprint) writes each overprinting fill and stroke (an object's
own, a character's, a type object's) with a graphics state of /OP true
/op true /OPM 1 (/OPM 0 in PDF/A); Discard writes none. White ones knock out
when Document Setup's Discard White Overprint is on, as in print. Mask art
never overprints. File > Print's composite PDF honours Print > Advanced >
Overprints: Preserve the same way (separations keep multiplying plates).
Each overprinting fill or stroke is drawn as a form marked to overprint
(crates/pdf/src/forms.rs); after writing, its content starts by setting the
overprinting graphics state, and the PDF/X self-check runs on the result.
The engine's "overprint is not written to PDF yet" warning and print's
"overprints print as knockouts in composite output" warning are gone.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Create PDF layers from top-level layers (document.exportPdf createLayers, the
Save PDF dialog's General option) now writes an optional content group per
top-level layer (template layers are left out): named as the layer, off when
the layer is hidden, /PrintState /OFF when its Print option is off, locked
when it is locked, listed top first, with a print auto-state (not under a
standard). The file reopens with those layers.
The PDF writer has no optional content, so each layer is drawn as a form of
its own (no transparency group, so it draws as in place) starting with a mark;
after writing, the uses of the layers' forms are wrapped in /OC ... BDC/EMC
and the catalog gets /OCProperties (crates/pdf/src/forms.rs, through the
shared patch writer and the PDF syntax reader of encrypt.rs). PDF 1.4 and a
knockout page group write plain page content with a warning; the dialog greys
the option at 1.4. The "not written yet" warning is gone.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The pdf crate's PrintSettings gains advanced {printAsBitmap,
overprints: preserve|discard|simulate, flattenerPreset} and
color.profile, all defaulting so saved print_setup values still load.
Composite output discards overprints (no /OP) or simulates them as
Overprint Preview draws them; separations keep them. A printer profile
converts composite colours with the chosen intent (a CMYK one writes
device CMYK) and separations separate with a CMYK one. The engine
flattens transparency with the preset, or renders each printed region
as one image for Print as Bitmap, before PDF or PostScript layout.
The Print dialog's Advanced and Color Management sections show them.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
View > Show Print Tiling (view.printTiling) draws the pages of the
document's print settings on the canvas, dashed and numbered, from
print.preview's own layout (print.tiling), so the canvas and the
printed job agree. The Print Tiling tool replaces the no-op tool: a
drag places the first page's imageable corner (print.tiling.set,
saved as print_setup.tileOrigin, one undo step); a double click on
the canvas or the tool button resets it. Tiles start at the origin
and extend to cover the art; the Print dialog shows the tool's
placement with a Reset button.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
document.exportPdf {standard: pdfX1a|pdfX3|pdfX4} and the PDF/X presets now
write conforming files instead of being refused:
- every PDF/X file gets a /GTS_PDFX output intent (by default the CMYK
profile in effect, embedded), TrimBox, Trapped, GTS_PDFXVersion (and
GTS_PDFXConformance for X-1a), a title and dates; editing data,
passwords and, in X-1a/X-3, PDF layers are refused
- PDF/X-1a converts every colour and image to a CMYK destination,
untagged, with CMYK spot alternates; X-3 and X-4 tag colours with ICC
profiles
- X-1a and X-3 are written as PDF 1.3 and their transparency is flattened
first (High Resolution preset; images with see-through pixels count,
rasters stay opaque); X-4 keeps transparency, is PDF 1.6 at most and
names the standard in its XMP metadata
- the written file is checked against its standard (soft masks,
transparency groups, opacity, blend modes, RGB in X-1a, fonts not
embedded) and refused rather than mislabelled
- choosing a standard sets the latest compatibility it allows and turns
off what it forbids (engine and Save PDF dialog)
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- ROADMAP: a new "Honest assessment (2026-10-05)" section with:
- scores by dimension (breadth, depth, large missing subsystems, interaction
fidelity, look and feel, file interop, bundled content, performance,
robustness, platforms, automation) and how far to trust the self-graded scores;
- the prioritized gap list with one-agent hour sizes;
- the direction (next, then, alongside, 1.0).
- ROADMAP: the parity rows for files, export, print, links and UI chrome are
re-derived after M4 (feature parity ~74% on the rubric, 68–74% honest range;
~230–350 h to feature parity, ~335–520 h to full parity, one agent), the M4 and
M11 milestone rows and the inventories are updated, and "Shipped so far" lists M4
and the robustness work.
- README Status: where we are, what's missing, where we're going.
- AGENTS.md / CLAUDE.md: sessions start from the gap list; landing a task updates
the assessment, the parity row and the README status in the same PR.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
M3 is done: the M3 row, the shipped list (swatches, colour, gradients, strokes,
appearance, masks, transparency, graphic styles, and the title bar) and the
colour, stroke and appearance parity rows cover everything that landed through
#62, with the few known gaps named. M6 notes the Boolean precision fix and M14
the custom title bar and content-sized dialogs. The totals are summed from the
rows again (they had drifted), and the method note records M3's measured pace.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The M3 row, the shipped list and the colour, stroke and appearance parity rows
cover Swatches panel depth, Gradient panel depth and rebased gradients, stroke
export parity and Outline Stroke fidelity, corner-fitted dashes, appearance
editing depth and effects on every object kind, knockout and page groups, and
graphic style links. Remaining estimates are recalibrated on the measured
throughput of the first two M3 waves.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The ROADMAP and the MCP docs say Illustrator/Adobe again where they compare
VectorCraft with it (the rewording in #15 and the create_graph row). The
vendor-name gate keeps checking what users and agents read in the app (Rust
string literals, Cargo descriptions, packaging) and the non-Markdown files
under docs/, and no longer scans Markdown pages.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
ROADMAP: the M3 row lists what landed (swatches, colour picker and panel,
proxy commands, gradient transforms and annotator, stroke geometry, dotted
lines, arrowheads, appearance targeting, mask reach, clipping by any shape)
and what is pending; a "Paint and appearance" block in Shipped so far; the
colour, stroke and appearance parity rows and the totals re-derived from the
detailed M3 plan, calibrated on its first wave; the reference app is no longer
named. README: the open/export formats from the shared loader and the vendor
name step of cargo xtask ci.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
