Switching to a Layout re-tessellated the whole model — `memo_miss=186455`,
2034 ms — to arrive at geometry identical to what was already in the memo.
The only thing that differed was colour.
`local_wires_for` already knows this: it stores the raw colour and drops
its background argument with `let _ = bg_color;`, noting that
`Batches::finalize` applies `adapt_to_bg` last, "so the cache no longer
has to rebuild on BACKGROUND / layout-switch". The tessellation memo's
guard had not been told, and still mixed the background in, so every
entry was discarded on a switch.
`finalize` now records what its colour resolution consumed — the raw
colour, the raw glyph colours, and the three flags it branches on — as
`WireModel::bg_adapt`, and `resolve_colors_for_bg` replays it for another
background. The guard drops the background, so a memo entry serves any
layout.
The resolution recomputes from the recorded raw colour rather than from
the resolved one, which makes it idempotent and therefore safe over a set
that mixes memo hits with freshly tessellated misses. Re-adapting the
resolved colour would not be safe: `adapt_to_bg` snaps a near-white colour
to pure black on a light background, and pure black comes back pure
*white* on a dark one, losing the tint. A test pins that asymmetry so the
raw colour is not optimised away later.
The contract is tested against the real `finalize` rather than a copy of
its logic: for every background pair, building under one and resolving for
the other lands exactly where building under the other would have.
`bg_adapt` is `None` for wires built anywhere else, and the resolution
skips them, so nothing outside the block cache changes colour. It is also
`None` when the resolution would be a no-op — a preserved colour with no
canvas fill looks the same under every background — which keeps the common
case at no cost.
Ordering is unchanged: the pass runs inside the builder, before
`append_scene_markers` and `apply_refedit_fade`, both of which have their
own separate background dependency.
`wires-build` gains `colors=` so the pass has a number of its own.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
- Implement `TABLEDIT` command supporting viewport point-picking on cell interiors
- Support overlapping table hit testing with selection cycling and top-table resolution
- Support `/n` and `\n` multiline paragraph breaks (`\P`) in table cell text editing
- Unify text input modes via `InputKind` (`Point`, `SingleToken`, `FreeText`) on `CadCommand`
- Migrate 15+ commands across annotate, draw, insert, layout, and view modules
- Preserve text casing, literal spaces, and bypass arithmetic eval during FreeText input
- Add dedicated `tabledit_tests` and `free_text_entry_tests` test suites
Sync current main and companion codec changes before preserving unsupported frame rows, rendering in the entity plane, and sharing final layout metrics with placement preview.
Share source buffers across block placements and render nested content with GPU instance transforms.\n\nChunk silhouettes and compact mesh material data so large drawings stay under device buffer limits and remain responsive.
DIMLINEAR chose its measurement axis from the two extension line origins
alone, taking the longer of their x and y differences. Every line tilted
less than 45° therefore came out horizontal and stayed horizontal, no
matter where the dimension line was dragged.
The third pick is what answers the question. A linear dimension reports
the run or the rise; pulling the dimension line clear of the points above
or below asks for the horizontal distance, pulling it out to the side
asks for the vertical one.
"Clear of the points" is measured against their extent, not their
midpoint. A dimension line dragged straight up from near one end of a
long pair is still above them even though it is a long way from the
middle, and a midpoint test would call that sideways. When the location
is inside the pair on both axes it has not said anything yet, so the
longer side still decides.
Nothing else needed changing: the measurement already projects onto the
rotation axis, and the block builder already derives the dimension line
and both extension lines from it.
Closes#669
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The readout learned to write lengths as 5'-6 1/2" and angles as
N 45d0'0" E, but typed input was still a bare parse::<f64>() — a
coordinate could be displayed and not entered. Give the formatters
their inverses.
parse_length takes feet and inches separated by a dash, a space, or
nothing, with the closing quote optional, and whole-plus-fraction in
any of those forms: 5', 60", 5'-9", 5'9-1/2, 9-1/2, 1/2. A leading
minus is a sign; the one inside 5'-9" is a separator, since after feet
there is nothing left to subtract from.
parse_angle reads the mark that says which convention an angle is in —
g for grads, r for radians, d/'/" for degrees-minutes-seconds, compass
letters for a surveyor's bearing — and reads a bare number in whichever
convention the drawing is set to.
ANGBASE and ANGDIR now apply, but only where they mean something. Which
way a thing points is measured from the drawing's zero and runs the way
it says; how wide an arc opens is the same number whatever zero is
counted from. format_direction and parse_direction are the pair for
directions, and the polar readout and polar input both go through them,
so the bearing shown is the bearing accepted. format_angle stays for
sizes, where applying a base angle would corrupt the value.
The command prompts follow the same rule, each classified rather than
swept: OFFSET distance, FILLET radius, CHAMFER distances, ARRAY and
MINSERT spacing, TRACE width, HELIX, and EXTRUDE height read lengths;
the four dimension text-rotation prompts, ARRAY's total angle and
INSERT's rotation read angles. MLINE's scale and INSERT's scale factor
are left alone — a multiplier has no unit to be written in. INSERT read
both through one parse; they are now separate.
The typed variants also take a decimal comma, which a single-value
prompt has no other use for. parse_length itself does not: inside a
coordinate the comma separates the axes.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Hakan Seven