In 3D, Select can hold to one kind of answer: solid bodies, surfaces, or edges — hold the Select card or tap its corner to pick what a click is allowed to land on, a crowded model stops winning the click from the thing you aimed at, and a click on nothing lets the selection go, same as with All
Picking a feature in the tree no longer re-triangulates the whole model on every click — the highlight lands instantly on dense assemblies instead of pausing for up to a fifth of a second
Shadows redraw only when the light or the model actually changes, so hovering, selecting and panels no longer pay a second hidden render of the part
Notes, images and empty groups move without rebuilding the model at all
Clicking a row in the feature tree no longer fades the rest of the model to translucent — the row lights up and its own hidden drawings still show, and Isolate is still there for when you do want everything else out of the way
Grabbing a part by its placement handles stops stuttering at pickup: the moving half reuses geometry it already has instead of re-flattening the model
Releasing a moved part settles in a fraction of the old time — features that the move did not touch are recognized and skipped instead of rebuilt from scratch
Rebuilds now run off the main thread: committing a move, a cut or an edit keeps the app drawing while the engine works, and a moved part settles in about a fifth of a second instead of freezing the window for two
The faint dashed hairlines on curved walls are gone: the outline that inks a part was growing wide enough to turn the scraps a weld leaves inside out and paint their backs over the wall wherever a surface is nearly edge-on
Section views through hollow parts no longer flood the cavity at certain plane positions: the fill measures its shape in the section’s own plane instead of a projection that reads a U as straight, and a cut face crossing another body’s stops bridging across the gap between them
Shadows work again, and keep working when you pan: the key light had lost the box it casts shadows inside, and it was aimed at the world origin rather than at what you are looking at
A rendering mode sits beside the view cube: Shaded is the working look, Glossy polishes the surface for showing a part off, and Technical flattens it to pale faces and ink for dropping into a document
A curved edge stays drawn as you pull back, and hovering or tapping an edge marks the whole edge — one tap takes the whole edge for a fillet or chamfer, and a tap anywhere along it gives all of it back
