Splay bends away from the centre of the layer's bounds, as the reference
tool's does: on a ring or an L that centre lies outside the shape, so an
inner edge bends towards the hole. Checked side by side on a ring and an
L at Splay 0% and 100%. The module doc still said splay 0 bends along the
edge's normal; it bends towards the core since #1889.
`MAX_SHAPE_PX` now says it is 4M px on the desktop and 1M on the web, and
that a bigger shape gets no core, so a large glass text or vector can bend
differently once zoomed into, in a 2× export, or on the web.
Docs only.
`Glass::set_bound` clamped a bound light angle to ±180, so a variable of
270 drew the light from 180, a quarter turn off, while a typed 270 draws
from -90. A bound angle now turns round into -180–180 (270 is -90, -0 is
0), the same direction the angle draws in.
The previous commit saved the file with CRLF endings; only the 30 changed lines are a real change.
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
take_paragraph_style went through para_span, which leaves out the empty paragraph after a final newline, so its list style stayed as it was and the layer did not fold back to one list. The whole-layer path now addresses every paragraph by index; para_span's selection semantics are unchanged.
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
* M3: glass bends with the reference tool's thick-lens profile and splits its colours over 8 steps (#1885)
The backdrop bends most a 1-unit bevel in from the edge, falls off as the
3.5th power of the way out of the curve to nothing `depth` further in, and
moves a fifth as much on the bevel itself (it fell off as the square of the
way in from the very edge). Dispersion samples each channel at 8 steps along
the bend with a triangular window, red moving furthest and blue least (it was
three samples, blue furthest), as far apart as the reference tool's: at 100%
red and blue move 0.16 of the bend apart (`Glass::DISPERSION_SPREAD`).
`Glass::max_bend` bounds red's furthest step, so the backdrop read around a
pane covers every sample, and the field margin covers the bevel.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* M3: glass's bend stays within `max_bend`, checked on a single bright pixel too (#1885)
Review follow-up: the bend reaches `depth` × `refraction` a bevel in from
the edge, so `Glass::max_bend` drops its 0.999 and bounds it, as a test now
checks for several refractions. A single white pixel on black pins the
dispersion's triangular window, which a ramp and a flat backdrop can't tell
from one centred sample. The parity assessment records the bend, the
dispersion and how they were measured against the reference tool.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* M3: glass's light is a line on its bevel, and splay turns the bend towards the centre (#1885)
The light is a line on the 1-unit bevel added to the backdrop, as the
reference tool's: fully where the edge faces the light, none below 0.35 of
facing it and 0.6 as much on the opposite side, with a faint gradient across
the curve, 5% darker facing the light and lighter opposite. It was a glow
mixed towards white, as deep as `splay` made it, so `light_reach` goes.
`splay` turns the bend from along the edge's normal towards the way away
from the layer's centre, and no longer widens the light: files with a splay
above 0 look different. The direction to the centre is worked out in the
shape's own frame (`own_frame`, shared with the field cache), so cut renders
match the whole one byte for byte.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* M3: glass bends towards its core, and rounded rectangles work it out in closed form (#1885)
The backdrop bends towards the glass's core, the shape shrunk by `depth`
and the bevel, instead of along the smoothed edge normal: round a sharp
corner the bend turns smoothly instead of meeting along the diagonal, and a
part thinner than twice that (a capsule, a letter's stroke) bends across
itself towards its own middle, pixels about as deep as any within 2 px. The
fields keep a bend direction beside the normal (an exact feature transform
from the core, box-blurred once), their key includes the core's depth, and
their margin covers the core.
Rectangles, frames, components, instances and sections whose corners aren't
smoothed, under a rotation, flip and even scale, work their glass out in
closed form (`AnalyticRect`): signed distance, the light's normal (corners
rounded to at least the bevel) and the bend direction (corners rounded to
the core) per pixel, in the layer's own frame, with nothing to rasterise,
transform or keep. A zoom frame draws in 40 ms instead of 54 and a resize
frame in 46 instead of 67 (`glass_render_timings`, release, 2×).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* M3: cut renders of glass match with splay turning a dispersed bend (#1885)
Review follow-up: the cut-versus-whole test had splay only on looks without
refraction, so no turned bend reached the dispersion. A look with splay 1 and
the default bend and dispersion now renders the same however it is cut. The
parity assessment records the light on the bevel and splay's new meaning.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* M8: a glass too big to keep bends along its normals, and the core's fields take less memory (#1885)
Review follow-up: a shape that doesn't use the closed form and whose whole
window at the zoom, with the core's margin, would pass `MAX_SHAPE_PX`
(a large vector, text or smoothed rectangle, or a deep glass far zoomed in)
bends along its edge normals instead of working out a core, with the plain
margin. The choice depends on the shape and the zoom alone, so every band and
patch of a render agrees, and no render works out a core over more pixels
than a kept shape holds. The core's feature transform keeps `u32` indices
(16 bytes a pixel) and drops its maxima and core before making the
directions.
The edge normals are box-blurred twice again and the bend directions once,
as their docs say: the two were swapped.
The parity assessment records the bend towards the core and the closed form.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* M3: glass's flat inside skips the bend's curve, and full dispersion stays within `max_bend` (#1885)
Review follow-up: `bend_at` returns 0 straight away past `depth` + the
bevel, where the curve and the bevel's easing are both 0, instead of
working out a power of 0 for every pixel of a pane's flat inside. A test
moves one white pixel along a row under every bend of the profile at full
dispersion and checks that no channel ever reads it further out than
`Glass::max_bend`, which sizes the backdrop read around a pane.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* M3: glass's light shows over a transparent backdrop, and its flat inside skips the light (#1885)
Review follow-up: the light was added to the backdrop's colour and then
clamped to the backdrop's alpha, so with nothing under the glass (an
export of the pane alone) the line on the bevel vanished, where the old
glow raised the alpha and showed. Now the alpha rises as far as the lit
colour needs (`lit`), and stays the backdrop's wherever the light fits
under it, so renders over an opaque backdrop don't change.
Past `depth` + the bevel the rim light, the gradient and the bend are all
0, so those pixels take one sample of the backdrop and skip the light's
direction, facing and splay work, as the old glow's `reach` early-out did.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* M8: a kept glass shape works out only its bend again when the depth changes, and a core gets a wider margin (#1885)
Review follow-up. The field cache was keyed on the core's exact depth, so
every step of the Depth slider missed it and worked the whole shape out
again over a window twice as wide: coverage, distances, normals, the
feature transform and the blur, every frame, for every shape that isn't a
plain rounded rectangle. Only the bend directions depend on the depth. The
kept fields (`EdgeFields`: coverage, distances, normals) are now keyed
without it, and hold the bend directions for the last two depths asked
for beside them, so a new depth works out only those (`EdgeFields::bends`).
Two glass layers of one shape at different depths each keep theirs.
The margin a core takes was `reach` + 2 px past the plain one, but the
nearest core pixel can be √2 × `reach` away round a sharp corner, past
what that covers once `reach` is over about 91 px. It is now
1.5 × `reach` + 2 px past the plain margin. The cut-through-the-pane test
gets a 60-unit-deep look (a core 122 px in at 2×).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Glass: splay's doc says splay 0 bends towards the core
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Oleksii Sukholita <oleksii.sukholita@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: FredApps <153173854+FredApps@users.noreply.github.com>
* M3: glass bends with the reference tool's thick-lens profile and splits its colours over 8 steps (#1885)
The backdrop bends most a 1-unit bevel in from the edge, falls off as the
3.5th power of the way out of the curve to nothing `depth` further in, and
moves a fifth as much on the bevel itself (it fell off as the square of the
way in from the very edge). Dispersion samples each channel at 8 steps along
the bend with a triangular window, red moving furthest and blue least (it was
three samples, blue furthest), as far apart as the reference tool's: at 100%
red and blue move 0.16 of the bend apart (`Glass::DISPERSION_SPREAD`).
`Glass::max_bend` bounds red's furthest step, so the backdrop read around a
pane covers every sample, and the field margin covers the bevel.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* M3: glass's bend stays within `max_bend`, checked on a single bright pixel too (#1885)
Review follow-up: the bend reaches `depth` × `refraction` a bevel in from
the edge, so `Glass::max_bend` drops its 0.999 and bounds it, as a test now
checks for several refractions. A single white pixel on black pins the
dispersion's triangular window, which a ramp and a flat backdrop can't tell
from one centred sample. The parity assessment records the bend, the
dispersion and how they were measured against the reference tool.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* M3: glass's light is a line on its bevel, and splay turns the bend towards the centre (#1885)
The light is a line on the 1-unit bevel added to the backdrop, as the
reference tool's: fully where the edge faces the light, none below 0.35 of
facing it and 0.6 as much on the opposite side, with a faint gradient across
the curve, 5% darker facing the light and lighter opposite. It was a glow
mixed towards white, as deep as `splay` made it, so `light_reach` goes.
`splay` turns the bend from along the edge's normal towards the way away
from the layer's centre, and no longer widens the light: files with a splay
above 0 look different. The direction to the centre is worked out in the
shape's own frame (`own_frame`, shared with the field cache), so cut renders
match the whole one byte for byte.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* M3: cut renders of glass match with splay turning a dispersed bend (#1885)
Review follow-up: the cut-versus-whole test had splay only on looks without
refraction, so no turned bend reached the dispersion. A look with splay 1 and
the default bend and dispersion now renders the same however it is cut. The
parity assessment records the light on the bevel and splay's new meaning.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* M3: glass's flat inside skips the bend's curve, and full dispersion stays within `max_bend` (#1885)
Review follow-up: `bend_at` returns 0 straight away past `depth` + the
bevel, where the curve and the bevel's easing are both 0, instead of
working out a power of 0 for every pixel of a pane's flat inside. A test
moves one white pixel along a row under every bend of the profile at full
dispersion and checks that no channel ever reads it further out than
`Glass::max_bend`, which sizes the backdrop read around a pane.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* M3: glass's light shows over a transparent backdrop, and its flat inside skips the light (#1885)
Review follow-up: the light was added to the backdrop's colour and then
clamped to the backdrop's alpha, so with nothing under the glass (an
export of the pane alone) the line on the bevel vanished, where the old
glow raised the alpha and showed. Now the alpha rises as far as the lit
colour needs (`lit`), and stays the backdrop's wherever the light fits
under it, so renders over an opaque backdrop don't change.
Past `depth` + the bevel the rim light, the gradient and the bend are all
0, so those pixels take one sample of the backdrop and skip the light's
direction, facing and splay work, as the old glow's `reach` early-out did.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Oleksii Sukholita <oleksii.sukholita@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: FredApps <153173854+FredApps@users.noreply.github.com>
* M3: glass bends with the reference tool's thick-lens profile and splits its colours over 8 steps (#1885)
The backdrop bends most a 1-unit bevel in from the edge, falls off as the
3.5th power of the way out of the curve to nothing `depth` further in, and
moves a fifth as much on the bevel itself (it fell off as the square of the
way in from the very edge). Dispersion samples each channel at 8 steps along
the bend with a triangular window, red moving furthest and blue least (it was
three samples, blue furthest), as far apart as the reference tool's: at 100%
red and blue move 0.16 of the bend apart (`Glass::DISPERSION_SPREAD`).
`Glass::max_bend` bounds red's furthest step, so the backdrop read around a
pane covers every sample, and the field margin covers the bevel.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* M3: glass's bend stays within `max_bend`, checked on a single bright pixel too (#1885)
Review follow-up: the bend reaches `depth` × `refraction` a bevel in from
the edge, so `Glass::max_bend` drops its 0.999 and bounds it, as a test now
checks for several refractions. A single white pixel on black pins the
dispersion's triangular window, which a ramp and a flat backdrop can't tell
from one centred sample. The parity assessment records the bend, the
dispersion and how they were measured against the reference tool.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* M3: glass's flat inside skips the bend's curve, and full dispersion stays within `max_bend` (#1885)
Review follow-up: `bend_at` returns 0 straight away past `depth` + the
bevel, where the curve and the bevel's easing are both 0, instead of
working out a power of 0 for every pixel of a pane's flat inside. A test
moves one white pixel along a row under every bend of the profile at full
dispersion and checks that no channel ever reads it further out than
`Glass::max_bend`, which sizes the backdrop read around a pane.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Oleksii Sukholita <oleksii.sukholita@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: FredApps <153173854+FredApps@users.noreply.github.com>
* M3: glass effects take variables, and their frost stays within 0–100 (#1885)
Glass's light angle, intensity, refraction, depth, dispersion, frost and
splay bind to number variables, on a layer (`variable.bind`,
`effects/<i>/<field>`, `radius` being the frost) and in an effect style
(`style.bind`), and the Design panel's glass fields take a variable like
the shadow and blur fields. A variable reads as the field shows it:
intensity, refraction, dispersion and splay in percent.
A glass's frost stays within 0–100, the reference tool's range: a larger
frost from an older file draws at 100, and the field, a bound variable and
scaling stop there.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* M3: a frost from an older file scales and shows as it draws (#1885)
Review follow-up: a frost saved past 100 draws at 100, so scaling a layer
starts from that (150 halved draws at 50, not 75) and the Design panel's
Frost field shows it. The revision row's binding path escapes its pipes, so
the table keeps three columns.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* M3: Dev Mode and .fig export show a frost from an older file as it draws (#1885)
A frost saved before the 0–100 range draws at 100, and the canvas, CSS and
scaling already read it that way, but Dev Mode's Glass row and the .fig
export still read the stored number, so they said 150 where the canvas
shows 100. Both now read the sanitized frost.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Oleksii Sukholita <oleksii.sukholita@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: FredApps <153173854+FredApps@users.noreply.github.com>
Direction came from the letters only; Add right-to-left text says controls override it per paragraph (Text > Text direction, Left to right or Right to left). `TextDirection` on `ParaList`, `Bidi::of` with a base level per paragraph, `text.direction` and the three menu commands (the edited paragraphs while editing), `node.set textDirection`, the Type settings control once a right-to-left script is in the text, inspect `textDirection` / `lineDirections`, the CSS `direction`, and the `.fig` lines' `sourceDirectionality` in and out.
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
file.export always encoded JPG at quality 90, and an sRGB document's JPGs
carried no colour profile, so viewers could only assume sRGB. PNG exports
always get an sRGB chunk, and Display P3 JPGs already embedded their ICC
profile.
- ExportSetting gets a quality (1 to 100, default 90, saved only when it
isn't 90), parsed with the other export options: file.export, export.add,
export.update, file.exportLayers and MCP export take it.
- encode_export_with takes the quality; encode_export keeps quality 90.
Every JPG now embeds the document's profile, sRGB included.
Cause: deleting a point with Delete (not Shift+Delete) opens the path and leaves its region's
loop with a gap, filled closed by a straight line across it; joining the two ends again (the pen
onto the other end, Connect, Join) added the segment to the network but not to the loop, which
still spanned the gap. Unrounded, the straight line and the segment coincide; once the points are
rounded, the fill and the selection outline run straight across while the stroke, walked from the
network itself, follows the segment and its arcs (#1506's picture).
Fix: `ops::connect` splices the new segment into the loop whose segments are the chain between
the two ends, so the loop closes through it; a chain no loop fills still becomes a region of its
own. Tests: the chamfer made by Shift+Delete, by Delete then Connect, and drawn with the pen, each
rounded, with the fill tracing the stroke (engine); every loop order and segment direction of a
chamfered rectangle (doc).
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
The `.jam` importer routed every elbowed connector itself, so one drawn around a layer by hand in
FigJam came in routed through it. FigJam saves the path as `connectorControlPoints`: one per run
between the first and the last, each a point on its run (in the connector's parent's coordinates)
with the run's axis; the first run leaves the start's side and the last arrives at the end's. They
become the `ConnectorPath::Runs` a board connector reshaped by hand has, walked by
`figcraft_doc::route_along`, so the path is kept exactly. Points that don't make such a path (off
both axes, two runs the same way in a row, a first or last run sideways to its side, more runs than
a hand could make) leave the connector to the router as before, and only connectors routed here
count in the "own routing" note. `figcraft_doc::attach_points` and `MAX_RUNS` are exported for it.
Docs: file-format-parity.md, boards-parity.md.
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
* fix(doc): bound the string bytes an expression holds and stop concatenating at the cap
* address review: count only appended characters; keep validating operands past the cap
Loading accepted a page id repeated in the pages list and repair kept the
repeats, so import, Fig and Penpot export and every page walk visited and
retained that page's subtree once per listing. validate now reports a
repeated page and repair drops the repeats.
Review: a section moving carries its stickies and their connectors, so those connectors and
their labels are no snap targets for the section either (an end counts as carried when its node
or any ancestor is moving). The parity rows, the END_GAP doc and the test's doc no longer say
connectors from one side run together: elbows share their first run along the normal, curves
leave tangent to it, straight ones fan out from the same point.
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
A connector end attached to a side was routed from the middle of that side, so the stroke's
centre line started on the border and half its width plus the round cap lay on the fill, and
several connectors leaving one side piled up into a knot sticking into the card. FigJam starts
the line a few pixels outside the border and connectors leaving one side run together along the
side's normal before they fan out (the issue's screenshots). `board_route::END_GAP` (4 pt): an end
attached to a side (`RouteEnd::Box`) starts that far outside it along the side's normal; an end
placed by hand on the object (`RouteEnd::On`) keeps its exact point; a free end is unchanged.
The pinned route coordinates in the engine, format and UI tests move with it; the overlay's
attach points stay on the border. Docs: the Connectors rows, status line and history of
boards-parity.md.
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
`file.import` of a FigCraft file kept the document's style, variable or
collection for every id both files used, and the pasted layers kept
those ids. Ids are numbered per file, so two files made apart share
them, and the imported layers were bound to the document's unrelated
variables, modes and styles.
`append_pages` now gives the incoming file new ids first (`Renames`):
- an incoming style, variable or collection is shared, as before, only
when the document has the same under its id and everything it names
is shared too (the same file imported again); a collection and its
variables are shared only together; library copies keep their ids;
- every other id the document already uses gets a new one from its
allocators, which now take ids to avoid (the incoming file's own);
- layers' style links, bindings, explicit modes and prototype actions,
styles' bindings, variables' collections, aliases, calculations and
extensions, and the renamed collections' mode ids follow.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
BFlat
Trevor Brown
Oleksii Sukholita
JonRC
Dylan M. Taylor
MortenHustedandClaude Opus 5.5