A run (vectorcraft-cli run, the MCP command_batch tool) had no way to use
an id an earlier step returned. A parameter string that is exactly
$N.path or $last.path now takes that value from step N's result
(0-based), e.g. {"id":"$1.id"}; $$ starts a literal $, and a
reference to nothing fails the step. Objects given to a command are now
used as given: an ids element or id that isn't an object id (or an
unresolved reference) fails instead of the command acting on the
selection. text.setRangeStyle styles the selected type object when no
id is given, as text.setStyle does.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Opening a file that fails (File › Open, Open Recent, the Home screen, a
drop, the Finder or the command line) only set the status bar's
message, which is easily missed: it looked as if nothing happened. A
dialog now says "Can't open “name”." with the reason, as well. An
agent's file.open {path} still just answers with the error.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Color books such as the Pantone books a user owns (.acb) couldn't be
opened. They are now read (never written), from public descriptions of
the format: their RGB, CMYK or Lab colors, named with the book's prefix
and suffix ("PANTONE 185 C"), as spot colors unless the book marks
them as process colors, leaving out the pages' unnamed padding. They
open from Window › Swatch Libraries › Other Library…, File › Open and
the user library folder like .ase files.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
While a group or layer was isolated, clicks, hovers and drags still
reached the art outside it, and that art drew as usual. Now only the
isolated container's contents hit: the art around it is locked and
clicks pass through it. On the canvas it draws at half opacity, above
the group as well as below, each run of it as one dimmed layer.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
With type selected, the Properties panel's Paragraph section had only
Align Left, Center and Right. It now has the Paragraph panel's seven
alignments (the justified ones too), its Hyphenate checkbox and a "…"
button that opens the Paragraph panel, as Illustrator's does.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Align to Key Object and Align to Artboard worked only from the Align
panel's own buttons: the Control bar's and the Properties panel's align
buttons always aligned to the selection (one object to the artboard).
They are now one set of buttons that follow Align To (and the key
object), and the Properties panel's Align section gets the "…" button
that opens the Align panel for Distribute and Align To.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
In the gradient stop popover (and the Color panel), clicking a recent
colour replaced the whole gradient with that colour, while the sliders,
spectrum and Black and White chips recoloured the selected stop. The
recent colours now go through the Color panel's target like the chips.
The Swatches panel's recent colours still paint the fill or stroke, as
its swatches do.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Opened from a stop on the Gradient tool's annotator, the colour popover
appeared just below and right of the stop, over the very art whose
colour it changes. It now opens beside the selected art, on the first
side with room for it (right, left, below, above), and beside the stop
only when there is none.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
With Rotate View, each ruler measured document x (or y) along a line
that crossed both axes: its ticks covered only a short stretch and the
numbers bunched up. Each ruler now measures along its own edge in the
canvas's coordinates turned with the view, so it is ticked over its
whole length at every angle, and reads x and y as before at 0°.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The dialog's W and H fields send decimal numbers (300.0) and the settings
wanted a whole u32, so the preview failed with "invalid type: floating
point". Pixel sizes now take any number and round it to whole pixels;
negative, huge and non-numeric sizes are still refused.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
With the Artboard tool, the active artboard's name was drawn twice: by
the canvas, as for every artboard, and by the tool, in blue and a little
higher. The canvas now leaves that one to the tool, which draws it where
the canvas names the others.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Creating a Vulkan instance loads every installed Vulkan driver into the
process, and a faulty one (Intel's igvk64.dll) crashed VectorCraft
before its window appeared. On Windows the window now starts with
Direct3D 12, falling back to OpenGL, as PdfCraft does; WGPU_BACKEND
(e.g. vulkan) still chooses others.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Before deciding to use the layers of an Illustrator file, the import
drew them again for each text object made from the file's text
document, to see whether the page draws it. When the layers differ from
the page by more than the check allows even with every such object
gone (taking one out only changes what is drawn in its box), the
layers aren't used whatever is taken out: that weighing is now
skipped.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Gaussian Blur and Feather drew through a filter layer whose blur works on
a coarser grid tied to the canvas: the blurred art moved by up to about
a pixel, and its steps showed, as the view moved by parts of a pixel
(scrolling, zooming about the pointer). They now blur the content's own
pixels on the CPU, as the Photoshop-style effects already do: the same
look wherever the view is, cached while only the view moves.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Raw app.quit closed the window and answered null at once, so a client
couldn't tell that a save prompt was waiting. It now runs the menu's
Quit: {"pending": "saveChanges"} while a modified document is asked
about, as file.close and file.closeAll answer and the protocol
documentation says; otherwise null, and the window closes.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The effect versions of Offset Path, Zig Zag and Roughen showed Joins and
Points as free text fields. They now pick Miter, Round or Bevel and
Smooth or Corner, as Object > Path > Offset Path does. A size's
Relative / Absolute (Roughen, Zig Zag, Tweak) is a pair of radio
buttons, and the effect dialogs' other on/off options are checkboxes
that show when they are off too (they were invisible unchecked).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Illustrator EPS and .ai type is made whole from the file's text
document, shown or hidden: point type, area type (a story in several
frames as threaded type that flows when the file opens) and type on a
path, with its fonts, size, leading, tracking, scaling, baseline shift,
fill and stroke colours (grey, RGB or CMYK), alignment, indents and
paragraph spacing. The page's drawing of that type, often in pieces, is
left out; where the text document can't say, type that shows still
comes from the page.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The output multiplied the glow's colour by its opacity a second time, so outside the shape (where
the glow sets the opacity) it darkened as it faded and showed as a grey rim over a light
background. The test now checks that the fading glow keeps the edge's colour.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The edge filter read `y * w + x` for x = w (the next row's first pixel)
and y = h at the raster's right and bottom edges; it now reads
transparency there, as the module documents. A test checks a solid square
glows alike on every side. Formatted with rustfmt, and the test uses
as_chunks for clippy 1.99.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The report kept a placed document's LINKED FILES and FONTS inside its parent's list. Each document
now gets its own sections, the packaged one first and unchanged (no Document: line), then each
placed document's, headed by its file. Drops a debug_assert and an unneeded mut, runs rustfmt, and
documents the nested packaging in docs/mcp.md and the ROADMAP.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
package.rs: the collector takes main's font lookup (fonts found by any of their names, in the
version the type names, a missing style shown in its closest one, files named by packaged_name).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- Fit to Artwork Bounds fits the art exports draw: hidden objects and
layers, guides and template layers don't count, and the bounds stop at
a layer's clip.
- The comparison with the page catches an object one draws that the
other doesn't (pixels whose neighbours all differ, away from type), a
light colour against white, and, for an EPS whose page is its art's
box, art the layers print outside it.
- textAs: outlines opens a .ai whose type shows from its PDF part, which
has the outlines.
- document.open takes editingData: false to open an Illustrator EPS or
.ai as its page or PDF part only, for print pipelines.
Part of #637.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The styles were stored on the text and written to SVG's text-decoration,
but the type was drawn without the lines. vectorcraft_text::decorations
now gives each underlined or struck-through stretch of a run on a line
its bar, placed and sized from the font's own underline and strikeout
metrics (with fallbacks for fonts that have none). The canvas, Create
Outlines, PDF export (outlined and real text) and SVG's outlined text
draw them in the run's paint.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
hyphenation_exceptions_override_the_pattern failed when the round-trip
test set the process-wide list at the same moment: words missing from the
thread's override fell through to the shared store.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
An ellipse kept pie angles in its model, but nothing drew or set them. Now
the Transform and Properties panels show Ellipse Properties with Pie Start
Angle, Pie End Angle and Invert Pie, as in Illustrator, and
object.setLiveShape takes {pieStart, pieEnd, invertPie}. The pie runs
counterclockwise on screen from the start angle (0 at 3 o'clock) to the
end angle and closes through the centre; 0 to 360 is the whole ellipse,
an end of 0 means 360, and Invert Pie swaps the angles to show the other
part. One undo step each; a bad angle is an error. The labels are
translated in every complete language. The on-canvas pie widget is still
to come.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The toolbar's All Tools drawer listed the tools' names as plain buttons.
It now shows each tool with its icon and name in a grid, under the
toolbar's group headings (Select, Shapes, Draw, Modify, Type, Navigate,
Color) and headings for the tools only the Advanced toolbar shows
(Perspective, Symbols, Graph, Artboards, Slices). The active tool is
highlighted, a tool's tooltip gives its name and shortcut, and picking one
selects it and closes the drawer. The headings use labels translated
already.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The toolbar and the dock's icon column scroll when the window is too
short for them. Their scroll bar was egui's floating one, which widens to
10 pt while scrolled or dragged and covered the group labels and the
icons' right edge. It now stays at most 4 pt wide (2 pt at rest), at the
column's edge.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- Artboard Options listed its fields by key (Height, Name, Width); it now
lists Name, then Width and Height.
- One-key tool and command shortcuts (V, P, X, D…) matched the character
typed, so with a layout without Latin letters (Persian, Arabic, Russian,
Greek…) they did nothing. When the text typed holds no ASCII character,
the key's position stands in: the V key selects the Selection tool
whatever it types. Latin layouts (AZERTY…) keep the letter typed.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
key_equivalents_run_through_the_normal_shortcut_path_once failed about one
full ui-egui run in four ("the menus weren't read again", 5 vs 4). Each
app mirrors its shortcut overrides into a process-wide store every frame,
bumping shortcut_editor::GENERATION, and the plug-in registry's revision is
process-wide too. Tests running alongside with other shortcuts flip them,
which rightly makes the menus read again. The test now checks two idle
frames during which those generations held still (trying up to 50 times),
so it still fails if idle frames re-read the menus on their own.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
As in Illustrator, the Pen shows its continue cursor over an end of any
open path, selected or not, and a click there selects the path and draws
on from that end (reversing it from its first end). While drawing, it
shows a join cursor over an end of another open path, and a click joins
the two into one path, in one undo step, which finishes the path.
path.join takes {ids: [a, b], ends: ["first"|"last", "first"|"last"]}
to join the ends asked for (the Pen's join); without them it joins the
selected paths' nearest ends as before. Joining a path with itself, or
anything that isn't a path, is an error.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Object › Crop Image and the image's Crop Image buttons (Control bar,
Properties) now show a crop box on the selected image, as Illustrator
does, instead of cropping straight to the artboard (which did nothing for
an image inside its artboard). The box starts on the image's part over its
artboard; its handles and its inside drag it, always within the image, and
the image outside it is dimmed. The Control bar shows its X/Y/W/H with
Apply and Cancel; Enter applies and Escape cancels, both back to the
Selection tool. Apply runs object.cropImage {rect}, one undo step.
- tools: the Crop Image tool (cropimage.rs), with crop_box shared by the
tool and the Control bar.
- ui: ui.cropImage (enabled with an image selected), the Control bar's
crop fields and buttons, "Apply" translated (es, fr, it, ru, uk, ja,
zh-hans, zh-hant).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
craft-fonts main holds only Noto Sans Arabic so far (the other eleven are in
storytold/craft-fonts#11), and releases pin an older craft-fonts commit, so
say which builds list them.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
#763 landed beside #771 with five chunks_exact(4) calls in
crates/affinity/tests/raster.rs, which clippy 1.99's chunks_exact_to_as_chunks
rejects, so cargo xtask ci failed at clippy on main.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
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 <[email protected]>
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 <[email protected]>
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 <[email protected]>
Double-clicking the MSI used to flash a progress bar and close, so users couldn't tell it had
installed. It now opens a wizard: Welcome, install folder (remembered across upgrades), Ready,
progress, and a Finish page that says where to find the app with a ticked "Launch VectorCraft"
box. Every page names the full version, pre-release tag included. The wizard art is drawn from
the app icon at package time; msiexec /qn still installs silently.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
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 <[email protected]>
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 <[email protected]>
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 <[email protected]>
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 <[email protected]>
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 <[email protected]>
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 <[email protected]>
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 <[email protected]>
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 <[email protected]>
