Complete Polish catalog (4,492 rows): every menu string, tl! literal,
plural and status/error message, enforced by the existing completeness
tests (complete_menus, KEEPS_MENU_NAMES, COMPLETE_MESSAGES).
- pl.tsv: clean-room translation from the English meaning, following
common Polish desktop-software conventions (obszar kompozycji for
artboard, obszar roboczy for workspace, obrys, wypełnienie, próbki…)
- plural_polish: one / few (2–4, not 12–14) / many (0, 5–21, 25…)
- every pl-* locale (pl-PL, pl_PL.UTF-8) resolves to it
- tests: Polish plural forms, vocabulary, nested message translation;
Polish letters in the bundled-font coverage test
- docs: README, development.md, localization-parity.md
Drafted with AI assistance; native review welcome.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01DukHNvUY45rjRnvtz91x33
SaveOptions::for_doc chose pretty-printed JSON by the object count in
the layers alone. A document with few layer objects but many anchors,
or with its art in symbols, patterns or graph designs, was therefore
written pretty, about ten times the compact size: every anchor's "p",
"in" and "out" spread over several indented lines.
A document is now pretty only when it has at most PRETTY_MAX_OBJECTS
objects and its compact JSON is at most PRETTY_MAX_BYTES (1 MiB). The
size is measured by serializing into a writer that stops at the limit,
so a large document costs at most 1 MiB of extra serializing. Small
documents stay readable and diffable.
Fixes#1484
Each region's outline was fitted on its own, so the edge between two regions was fitted twice, a little
differently, and left hairline gaps and overlaps.
- An outline is cut at its junctions: the pixel corners where three or more regions meet, where two parts of a
region touch by a corner only, and where an edge reaches the image's border (each side of the image is a
neighbour of its own, so the image's corners stay exact). A junction lies where the edges around it say, the
same for every region around it.
- Each piece between two junctions is the whole edge between two regions. Both get exactly the same points for
it (shifts are rounded to 1/1024 px so that the two sides agree to the last bit; whether a piece is hard is
decided by the piece alone) and it is fitted the same way from either side (from its end further left), so it
is one and the same curve in both paths. A loop without junctions is fitted clockwise from its leftmost point:
a shape's outline and the hole it leaves in the shape around it are one curve too.
- Stacked layers (Overlapping) share no edges and are cut at the image's border only.
On each preset's own inputs, all sizes and variants (docs/image-trace-quality.md), before -> after:
- Default: gaps 22.2 -> 0.8 px, overlaps 22.4 -> 0.5 px
- 3 Colors: gaps 48.6 -> 0.0, overlaps 29.4 -> 0.0; outlines 0.087 -> 0.104 px off on average
- 6 Colors: gaps 39.0 -> 0.2, overlaps 35.7 -> 0.3; 0.137 -> 0.140 px off, largest 1.09 -> 1.34
- 16 Colors: gaps 34.5 -> 0.2, overlaps 26.4 -> 0.2; 0.133 -> 0.141 px off, largest 1.09 -> 1.31
The public 3D and Materials panel options list Depth, Twist, Taper and Cap
for every 3D type; Inflate had only Depth.
- Twist (0° to 360°) and Taper (1–100 %) turn and scale the back about the
shape's centre, as Extrude & Bevel's do: a puffed back is turned and
lowered in proportion, and the sides follow in slices.
- Cap: Solid closes the back; Hollow leaves it off, so the inflated front is
a shell open behind. The documentation doesn't say what Cap means for
Inflate; this reading is stated in docs/three-d.md.
- The dialog's Object tab shows them in the documented order (Depth, Twist,
Taper, Cap), then Volume and Both sides.
At 0 % volume a twisted, tapered Inflate has the extrusion's outline from
every side (tested).
A twisted, tapered, hollow Inflate draws on the canvas exactly as it
exports, and expands to faces with their own ids (tested). ROADMAP and the
parity pages list the new options; the 3D score stays at ~25 %.
A twist bends the strip between two slices into a saddle; its normal came
from one corner's triangle, which leaned so far back that from about 60° of
twist every wall was taken for facing away and dropped, leaving the front
cap alone. Each strip now takes the whole quad's average normal (Newell's),
as Inflate's facets do. A test checks the faces kept against each strip's
average normal oriented away from the axis, for twists up to 300° and four
views.
The public 3D and Materials panel options give Twist as up to 360°; it took
-360° to 360°. Values beyond either end now hold at that end (the effect is
a day old, so only fresh files carry a negative twist).
On macOS, native_menu::sync reads every row of the menus (each
command's enabled and checked state, and each label) whenever
state_hash changes, and the macOS backend updates the AppKit items
whose label, enabled or checked state changed. The hash included the
active document's revision, and Session::preview makes a new revision
at each step of a drag, so the app read every row again at each step
of a move, scale or shape drag. In a release build on an M2 Max, that
took about 1.5 ms a step with one object selected, and 13.8 ms a step
with 5,001 objects selected.
While an interaction is open, state_hash leaves the revision out.
Move, scale and shape drags, dialog previews and the font menu's
preview are interactions. The menus are read when an interaction
begins and again on the frame it ends: when a drag's button is
released, when Escape cancels a drag, when a move is dragged onto a
panel, when a dialog's preview is applied or canceled, when the font
menu's preview ends, or when a control request such as
ui.dialog.cancel ends it. They are still read on a click or a key
press during an interaction.
docs/development.md says when the menus are updated during an
interaction.
Offset Path, Outline Stroke, the Pathfinder panel, Clean Up, Make
Blend, Rasterize and the other commands that #1429's table marks 3,
except Split Into Grid, added, removed or replaced their objects one at
a time, and so did Remove Anchor Points, Redefine Symbol and the
removal of Shaper groups whose source art is gone. Each insertion or
removal moved the later objects of the layer or group. The lookups by
id that followed walked the tree, and every fourth walk rebuilt the
lookup cache. On 25,000 rectangles a release build of vectorcraft-cli
took 29.1 s for Offset Path.
These commands now make their edits with Document::wrap,
Document::insert_beside and Document::remove_many, in one pass over the
children of each layer or group, and Outline Stroke and Expand write
each new object into the place of the object it replaces. A list that
holds an object twice, or an object and another inside it, and that was
edited without an error before, is still edited one object at a time.
The documents, selections and undo steps are the same. On the same
rectangles Offset Path now takes 1.3 s.
Docs: docs/target-app-parity.md.
These commands removed, moved or copied one row or object at a time:
the Layers panel's Delete Selection, Duplicate Selection, Collect in
New Layer, row drags, Merge Selected, Flatten Artwork and Release to
Layers, and Cut Artboard, Duplicate Artboard and the Artboard tool's
Alt-drags that copy art. Each edit moved the later rows of the same
layer or group to other indices. The next lookup by id then walked the
tree, and after every fourth such walk Document::index_path rebuilt
the whole lookup cache. Release to Layers also walked the document
twice for each new layer to name and color it. With 25,000 rectangles
in one layer, a release build of vectorcraft-cli took 11.9 s for
Duplicate Selection and 17.7 s for Release to Layers.
The commands now remove, move and copy the rows in one pass over each
layer or group, with Document::remove_many and Document::wrap, and
with copy_above, the copy pass of duplicate_in, which Duplicate
Selection and the artboard copies now share. Release to Layers names
its new layers from one walk of the document. Merge Selected checks
the target layer's objects against a set of the listed rows, and
Delete Selection checks the top-level layers against such a set. In a
document whose ids are unique, the rows keep their order, new rows and
layers take the same ids, names and colors, and the selection, the
undo step and the journal are the same. A release build with this
change takes 98 ms for Duplicate Selection and 26 ms for Release to
Layers.
Docs: docs/target-app-parity.md.
The renderer decoded images with the decoder's default 512 MB allocation
limit, so a 300 ppi roll (6614 x 59055 px, 1.56 GB as RGBA) that opens and
exports to PDF fine drew nothing in a raster export - a fully transparent PNG,
exit code 0, no warning. It now decodes with the allowance opening has (2 GB,
512 MB on the web), shrinks an image past a pixmap's 65535 px side to fit
instead of dropping it, and counts any image it still can't decode: a raster
export that drew fewer images than it should says so in its warnings.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Trim decoded the image with the decoder's default 512 MB allocation limit, so
a 300 ppi roll (6614 x 59055 px, 1.56 GB as RGBA) that opens fine failed with
"the image's pixels can't be read". It now decodes with the allowance opening
already has (MAX_RASTER_ALLOC: 2 GB, 512 MB on the web). A CMYK image, kept as
its ink amounts, has no alpha: trim leaves it alone (trimmed: false) instead
of failing to decode it.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Rewords French entries to the feature names French-speaking users of vector illustration software know, as the catalog header asks: Repères commentés, Sélection directe progressive, Trait for Line Segment, Déformation for Shear, Associer for Group, Annuler for Release in the Make/Release submenus, Étape de dégradé, Redéfinir les couleurs de l'illustration, the graph and symbolism tool names. 27 terms are attested in Adobe's public French help pages; the others come from the reviewer's knowledge of the French interface. The eight strings pinned by french_reads_as_french and the MENU_KEEP_AS_IS strings are untouched. Keys with two meanings (Trim, Crop, Merge, Outline, Gradient) are left unchanged: they need @id entries.
Adds the 423 keys that other catalogs translate and fr.tsv lacked. The 19 MENU_KEEP_AS_IS strings stay out of the catalog, as the menu tests require. Entries follow the existing catalog's wording and typography (no-break space before : ; %, typographic apostrophe); placeholders, edge spaces, trailing ellipses and plural forms are preserved.
On Windows, perf printed "load average ?": load_average runs sysctl
or reads /proc/loadavg, and Windows has neither. The warning for a
busy machine could not print, so a run over budget on a busy machine
failed, where macOS and Linux warn and exit 0. perf --deep printed no
memory rows, because rss_mb runs ps. --help did not list --deep.
On Windows, perf now reads GetSystemTimes twice, one second apart,
and its first line gives the cores busy on average over that second
where macOS and Linux give the load average. It warns above three
quarters of the cores, as on macOS and Linux: with all 32 logical
processors of a test machine kept busy, the line read "cores busy
32.0" and a run with three budgets over exited 0. The --deep memory
rows give the working set (GetProcessMemoryInfo). Both calls use
winsafe 0.0.29, which Cargo.lock already lists for the desktop app;
the CLI depends on it on Windows with the kernel and psapi features.
The help lists --deep and says that a run over budget on a busy
machine exits 0. perf's report on macOS and Linux does not change.
A photo's noise is as large as the step from one palette colour to the next, so noise decided pixel by pixel
which of two neighbouring colours a pixel got: tens of thousands of specks, or (since the palette change)
neighbouring tones merged into one.
- A continuous-tone image (eight colours leave much of it unsaid; flat art, however noisy or unevenly lit, is
not one) is smoothed before it is quantised: three rounds of a small bilateral filter, which averages noise
away within a tone and keeps the edges between tones where and as sharp as they were.
- With Method: Overlapping, layers are stacked by lightness, from the largest colour's end of the scale,
instead of by area. Each layer reaches under those above it, so where two colours meet every layer between
them in the stack ends on that same edge and shows through its anti-aliasing: by area that was an unrelated
colour's hairline around every region; by lightness it is a neighbouring tone.
- Ignore White with Overlapping: no layer reaches under the white that is left out.
On each preset's own inputs, all sizes and variants (docs/image-trace-quality.md), before -> after:
- High Fidelity Photo: colour error 2.37 -> 1.75 (2.30 at the baseline), edge error 2.59 -> 1.98, 639 -> 121
paths (3,653 at the baseline), 25,604 -> 9,818 anchors, specks 152 -> 10; a 16 megapixel photo-like image is
traced in 3.5 s (31,131 paths) where it was refused
- Low Fidelity Photo: colour error 2.67 -> 2.45, 55 -> 37 paths
- Shades of Gray: 73 -> 17 paths, colour error 9.33 -> 9.26
- The other presets' numbers are unchanged
egui reports drag_started only once the pointer is past its drag
threshold, farther from the press than the ruler's 5 px hit tolerance,
so hit-testing the current pointer usually missed the stop. Hit-test the
press origin instead, falling back to the pointer position.
Fixes#1458
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The theme's widget fill matches the dialog background, so the sliders of
Save for Web, the raster export options, Preferences and the opacity
popup showed only their handle. They share one slider widget now, with a
visible rail filled up to the handle.
In Outline view a template layer drew as outlines like any other, so a
picture placed to be traced turned into a box. It now keeps drawing in
Preview (dimmed as before) while the other layers are in outline.
Color and Grayscale chose their colours from every pixel, so the blends along anti-aliased edges took palette
entries and traced as slivers, and with more colours asked for than the art has, k-means split flat colours
along their noise and the halves traced as specks all over each other.
- The palette is made from the picture's own colours: a pixel that lies between the pixels on opposite sides
of it is a blend and counts for nothing (lines one pixel wide and noise are no blends).
- Colours that noise made of one colour merge: close colours whose pixels are mixed through each other. The
bands of a gradient keep to themselves and stay apart.
- A blend pixel whose nearest palette colour is a third colour (halfway from navy to yellow lies an olive that
is nearer to a green elsewhere) goes to the nearer of the two colours it lies between.
- Boxes are cut where their two sides differ most (Otsu's criterion) instead of at the median, which split the
largest colour of flat art along its noise and left two smaller colours in one box.
- Colours are compared in Oklab when pixels are assigned and in k-means.
On each preset's own inputs, all sizes and variants (docs/image-trace-quality.md), before -> after:
- 16 Colors: 69.9 -> 4.2 paths, 1743 -> 66 anchors, outlines 5.08 -> 0.13 px off on average (largest 85.9 ->
1.09), kinks 1376 -> 4.4, paths in a colour the art doesn't have 5.9 -> 0
- 6 Colors: 21.2 -> 4.0 paths, 4.44 -> 0.14 px off; 3 Colors: colour error 4.86 -> 0.43, 0.33 -> 0.09 px off
- High Fidelity Photo: 3636 -> 639 paths, 81,597 -> 25,604 anchors, colour error 2.50 -> 2.37; a 1 megapixel
photo-like image 1.98 -> 0.42 s (51,389 -> 4,298 paths), a 4 megapixel one traced (27,583 paths) where it was
refused
- Low Fidelity Photo: 128 -> 55 paths, colour error 2.59 -> 2.67; Shades of Gray: 91 -> 73 paths, 9.29 -> 9.33
text.create, text.createInPath, text.setText and text.setStyle answer with
overflow: [id…] for the area type and type on a path whose text doesn't fit (left
out when all fits), and MCP add_text with overflow: true. add_text takes area
type's fit and fitMinPercent.
