/* GENERATED by packages/ai-patterns/scripts/build-design-project.mjs. Do not edit by hand — run `pnpm -F @elirobinson/ai-patterns build:design-project`. The aggregate the guidelines/ cards link to, pointing at the real component stylesheets rather than a copy of them. */ /* ========================================================================== Miltinson Design System — Design Tokens colors_and_type.css ========================================================================== Single source of truth for color, type, spacing, radii, shadow, motion. All values are exposed as CSS custom properties on :root. Semantic tokens reference base tokens — never hardcode values in components. This is the only copy. `design-system-docs/colors_and_type.css` is a symlink to this file, and `src/tokens.json` is generated from it by `scripts/build-tokens-json.mjs` — edit here, run the package build, and every derived form follows. -------------------------------------------------------------------------- Three dials -------------------------------------------------------------------------- This file is one of three layers, and they compose as three independent attributes on the root element: palette data-palette="ember|slate" palettes.css theme data-theme="light|dark" palettes.css + this file platform data-platform="mobile" mobile.css This file owns what none of them changes the *meaning* of: the neutral ramp, the surfaces built from it, type, space, radii, shadow, motion, targets, safe areas, `--scrim`, and the global element styles. The brand ramps and every semantic derived from them — `--accent*`, `--anchor*`, `--link*`, `--focus-ring` — moved to palettes.css, along with the status and chart families, which are palette-INdependent by design. Nothing in this file may reference `--signal-*` or `--anchor-*` directly. Those names exist under every palette and mean something different under each, so a reference here is an assertion that one brand is mounted. ========================================================================== */ /* --- Cascade layer ------------------------------------------------------- One layer, declared before anything else so its position in the layer order is fixed by this statement rather than by wherever its first rule lands. Only the bare-element link rule near the bottom of this file lives in it; everything else here — every `:root` block included — stays unlayered and therefore still outranks anything a consumer writes inside a layer. The name is `base`, not a `ds-`prefixed one, and that is the whole design. Layer order is fixed by FIRST declaration, and the documented Tailwind v4 wiring (see tailwind.css, "Usage") pulls in `tailwindcss` ahead of this file — which declares, in one statement: theme, base, components, utilities. A fresh name declared here would therefore be appended AFTER `utilities` and outrank every utility, which is issue #112 unfixed and just spelled differently. `base` is a name Tailwind has already ordered below `components` and `utilities`, so reusing it puts the rule exactly where it belongs. Without Tailwind, this statement declares `base` itself and it becomes the lowest-priority layer in the document, which is the same answer. link-cascade.test.mjs measures both arrangements in a browser. Note for anyone extending this comment: do not write a literal `at-import 'name'` anywhere in this file's prose. brand-manifest.mjs in @elirobinson/ai-patterns scans the raw text of every stylesheet the brand skill ships and follows each import it finds — comments included — and fails the build on one it cannot resolve on disk. ---------------------------------------------------------------------- */ @layer base; /* --- Webfonts ------------------------------------------------------------ */ /* Geist (display + body sans) and JetBrains Mono (code + numerics), self-hosted from ./fonts/ — both are SIL OFL 1.1, licenses ship alongside the files. fonts.css is generated by scripts/build-fonts.mjs from the pinned @fontsource-variable packages; importing this file is enough to load the faces from your own origin. No request leaves the page. THE STRING FORM IS LOAD-BEARING. Not `url('./fonts.css')` — the bare string. Lightning CSS, which is Turbopack's CSS pipeline, INLINES the bare form (`at-import './x.css';`) and leaves the url() form (`at-import url('./x.css');`) standing as a literal @import in its output. Nothing else about the two spellings differs, and that one difference is issue #76: a surviving @import is then subject to the rule that an @import may not follow a rule, and a consumer's entry stylesheet always has rules ahead of this file — at-import 'tailwindcss' <- v4 requires it first; it inlines its rules at-import '@elirobinson/tokens/tokens.css' — so the fonts import is stranded, dropped as invalid, and every @font-face goes with it. Measured in a Next 16.3.1 + Tailwind v4.3.3 consumer: 0 @font-face rules in the built stylesheet with `url()`, 22 without it. It is silent, too. `next build` prints the warning to stderr and exits 0; only `next dev` fails loudly, with a 500. The two forms are interchangeable in every other respect, which is why this survived review for four releases. Being FIRST of the three imports is a SEPARATE, WEAKER invariant, and it is deliberately kept rather than relied on. It is not what fixes #76 — the string form alone fixes it with this import back below palettes.css, and this position alone does not fix it with `url()` restored; both were isolated against each other in that consumer. What the ordering buys is defence in depth if some future bundler stops inlining the string form too, at the cost of nothing: fonts.css declares nothing but @font-face, so hoisting it moves no declaration relative to any other. import-order.test.mjs asserts both, and is explicit about which one would have caught the bug. Note that the file is valid standalone under either spelling and in any order, which is why nothing in this package noticed. */ /* GENERATED by packages/tokens/scripts/build-fonts.mjs. Do not edit by hand. @font-face for the families tokens.css names, self-hosted from src/fonts/. Faces and unicode-range subsets come from the pinned @fontsource-variable packages; licenses ship alongside the files (SIL OFL 1.1). */ /* --- Geist — @fontsource-variable/geist ------------------------------ */ @font-face { font-family: 'Geist'; font-style: normal; font-display: swap; font-weight: 100 900; src: url(./fonts/geist-cyrillic-ext-wght-normal.woff2) format('woff2-variations'); unicode-range: U+0460-052F, U+1C80-1C8A, U+20B4, U+2DE0-2DFF, U+A640-A69F, U+FE2E-FE2F; } @font-face { font-family: 'Geist'; font-style: normal; font-display: swap; font-weight: 100 900; src: url(./fonts/geist-cyrillic-wght-normal.woff2) format('woff2-variations'); unicode-range: U+0301, U+0400-045F, U+0490-0491, U+04B0-04B1, U+2116; } @font-face { font-family: 'Geist'; font-style: normal; font-display: swap; font-weight: 100 900; src: url(./fonts/geist-vietnamese-wght-normal.woff2) format('woff2-variations'); unicode-range: U+0102-0103, U+0110-0111, U+0128-0129, U+0168-0169, U+01A0-01A1, U+01AF-01B0, U+0300-0301, U+0303-0304, U+0308-0309, U+0323, U+0329, U+1EA0-1EF9, U+20AB; } @font-face { font-family: 'Geist'; font-style: normal; font-display: swap; font-weight: 100 900; src: url(./fonts/geist-latin-ext-wght-normal.woff2) format('woff2-variations'); unicode-range: U+0100-02BA, U+02BD-02C5, U+02C7-02CC, U+02CE-02D7, U+02DD-02FF, U+0304, U+0308, U+0329, U+1D00-1DBF, U+1E00-1E9F, U+1EF2-1EFF, U+2020, U+20A0-20AB, U+20AD-20C0, U+2113, U+2C60-2C7F, U+A720-A7FF; } @font-face { font-family: 'Geist'; font-style: normal; font-display: swap; font-weight: 100 900; src: url(./fonts/geist-latin-wght-normal.woff2) format('woff2-variations'); unicode-range: U+0000-00FF, U+0131, U+0152-0153, U+02BB-02BC, U+02C6, U+02DA, U+02DC, U+0304, U+0308, U+0329, U+2000-206F, U+20AC, U+2122, U+2191, U+2193, U+2212, U+2215, U+FEFF, U+FFFD; } /* --- JetBrains Mono — @fontsource-variable/jetbrains-mono ------------------------------ */ @font-face { font-family: 'JetBrains Mono'; font-style: normal; font-display: swap; font-weight: 100 800; src: url(./fonts/jetbrains-mono-cyrillic-ext-wght-normal.woff2) format('woff2-variations'); unicode-range: U+0460-052F, U+1C80-1C8A, U+20B4, U+2DE0-2DFF, U+A640-A69F, U+FE2E-FE2F; } @font-face { font-family: 'JetBrains Mono'; font-style: normal; font-display: swap; font-weight: 100 800; src: url(./fonts/jetbrains-mono-cyrillic-wght-normal.woff2) format('woff2-variations'); unicode-range: U+0301, U+0400-045F, U+0490-0491, U+04B0-04B1, U+2116; } @font-face { font-family: 'JetBrains Mono'; font-style: normal; font-display: swap; font-weight: 100 800; src: url(./fonts/jetbrains-mono-greek-wght-normal.woff2) format('woff2-variations'); unicode-range: U+0370-0377, U+037A-037F, U+0384-038A, U+038C, U+038E-03A1, U+03A3-03FF; } @font-face { font-family: 'JetBrains Mono'; font-style: normal; font-display: swap; font-weight: 100 800; src: url(./fonts/jetbrains-mono-vietnamese-wght-normal.woff2) format('woff2-variations'); unicode-range: U+0102-0103, U+0110-0111, U+0128-0129, U+0168-0169, U+01A0-01A1, U+01AF-01B0, U+0300-0301, U+0303-0304, U+0308-0309, U+0323, U+0329, U+1EA0-1EF9, U+20AB; } @font-face { font-family: 'JetBrains Mono'; font-style: normal; font-display: swap; font-weight: 100 800; src: url(./fonts/jetbrains-mono-latin-ext-wght-normal.woff2) format('woff2-variations'); unicode-range: U+0100-02BA, U+02BD-02C5, U+02C7-02CC, U+02CE-02D7, U+02DD-02FF, U+0304, U+0308, U+0329, U+1D00-1DBF, U+1E00-1E9F, U+1EF2-1EFF, U+2020, U+20A0-20AB, U+20AD-20C0, U+2113, U+2C60-2C7F, U+A720-A7FF; } @font-face { font-family: 'JetBrains Mono'; font-style: normal; font-display: swap; font-weight: 100 800; src: url(./fonts/jetbrains-mono-latin-wght-normal.woff2) format('woff2-variations'); unicode-range: U+0000-00FF, U+0131, U+0152-0153, U+02BB-02BC, U+02C6, U+02DA, U+02DC, U+0304, U+0308, U+0329, U+2000-206F, U+20AC, U+2122, U+2191, U+2193, U+2212, U+2215, U+FEFF, U+FFFD; } /* --- The two sibling stylesheets ----------------------------------------- Declaration order, not cascade layers — the section at the top of the file is the one about `@layer`. @imported, so both files' declarations land BEFORE this file's own `:root`. That is deliberate and it is also the one thing to know when editing either of them: at equal specificity the later rule wins, so a palette or platform block written as a bare `[data-*]` selector — (0,1,0), the same as `:root` — would silently lose to the declarations below. palettes.css owns `--n-h`/`--n-mult` for that reason, and mobile.css qualifies its selectors with `:root`. ---------------------------------- */ /* ========================================================================== Miltinson Design System — Design Tokens palettes.css — the palette layer ========================================================================== The brand dial, selected by `data-palette`. @imported by tokens.css alongside mobile.css. tokens.css used to hardcode one brand. It now owns the neutrals, the surfaces and the geometry; this file owns everything that changes when the brand does: the two colour ramps, the neutral hue and chroma the greys are mixed from, and every semantic token derived from them — `--accent*`, `--anchor*`, `--link*`, `--focus-ring`. Two families deliberately live here and are NOT on the dial: status and chart. They are declared once, in the two theme blocks, and no palette block touches them. That omission is the mechanism, not an oversight — see "Status" below for why a warning badge that changes colour with the brand is a bug rather than a feature. --------------------------------------------------------------------------- Flat blocks, not a matrix --------------------------------------------------------------------------- Every palette times two themes resolves out of flat blocks with no `!important`, no `@layer`, and no build step. Two blocks per palette, in this order: 1. `:root` ember light (0,1,0) 2. `[data-theme='dark'], .dark` ember dark (0,1,0) 3. `[data-palette='slate']` slate light (0,1,0) 4. `[data-palette='slate'][data-theme='dark'], [data-palette='slate'].dark` slate dark (0,2,0) 5. `[data-palette='miltinson']` miltinson light (0,1,0) 6. `[data-palette='miltinson'][data-theme='dark'], [data-palette='miltinson'].dark` miltinson dark (0,2,0) A palette's dark block is the only one of its pair that carries two compound conditions, so it is the only one with (0,2,0), and it outranks every other block wherever it applies. Every light block and the ember dark block tie at (0,1,0) and are decided by source order, which is why the order above is the order below and must stay that way. The consequence a reviewer has to check: on `slate` + `dark`, blocks 1, 2, 3 and 4 all match, and the tie between 2 and 3 goes to 3 — the *later* one — which is slate's LIGHT block. So block 4 cannot be a thin diff over block 2; anything block 3 declares that dark needs to change, block 4 must restate. Rather than track which tokens that is, every block declares the complete semantic set. Identical values get repeated. That is the price of the omission never being silent, and `contrast.test.mjs` measures every palette × theme combination so a token that leaks across a block is a failing build. Ramps are palette-level, not theme-level, so `--signal-*` and `--anchor-*` are declared in each palette's light block only. Status and chart are theme-level but not palette-level, so they are declared in blocks 1 and 2 only. --------------------------------------------------------------------------- Adding a palette --------------------------------------------------------------------------- Two blocks — `[data-palette='']` and `[data-palette=''][data-theme='dark'], [data-palette=''].dark` — appended after the ones below, each declaring the same complete set, plus two more measured columns in the ratio tables. Nothing else in the system changes: tokens.css never names a ramp step, and no component may assume which palette is mounted or which way its hover moves. Every ratio in a comment here was measured against `--bg` in the palette and theme whose block it sits in, unless the comment names another background. An unmeasured colour is not cleared for use. ========================================================================== */ /* ========================================================================== BLOCK 1 — ember (default), light -------------------------------------------------------------------------- Miltinson Amber over Miltinson Forest, near-achromatic greys. This is the brand the system shipped with; the ramps are unchanged from the tokens.css that predates the split. This block also carries the palette-independent status and chart families, because `:root` is the only selector that is true under every palette. ========================================================================== */ :root { /* --- The neutral dial --------------------------------------------------- tokens.css mixes every `--ink-*` step as `oklch(% calc( * var(--n-mult)) var(--n-h))`, so a palette can tint the greys without touching a single lightness. Lightness is what carries contrast, so every measured neutral ratio is identical under both dials — asserted, not assumed, in contrast.test.mjs. These are declared here and not in tokens.css on purpose. `:root` and `[data-palette='slate']` are both (0,1,0), and tokens.css @imports this file at the top, so a `--n-h` declared in tokens.css's own `:root` would come later at equal specificity and beat every palette block — the dial would exist and never turn. The palette owns the dial; tokens.css reads it. ------------------------------------------------------------------ */ --n-h: 247; /* neutral hue */ --n-mult: 1; /* neutral chroma multiplier — 1 near-achromatic, 1.6 charcoal */ /* --- Ramps -------------------------------------------------------------- */ /* Signal — Miltinson Amber. Warm, craftsman, honest. The primary accent. Used for CTAs, links on dark, eyebrow underlines, key stats. */ --signal-50: oklch(97.5% 0.025 75); --signal-100: oklch(94% 0.055 75); --signal-200: oklch(89% 0.1 75); --signal-300: oklch(83% 0.14 72); --signal-400: oklch(78% 0.16 68); --signal-500: oklch(72.5% 0.175 65); /* primary — Miltinson Amber */ --signal-600: oklch(63% 0.165 55); --signal-700: oklch(52% 0.145 45); --signal-800: oklch(40% 0.115 40); --signal-900: oklch(28% 0.08 38); /* Anchor — Forest. Secondary brand anchor used sparingly: coaching/guides surfaces, trust marks. It is no longer what success is made of — see the status section. */ --anchor-50: oklch(96% 0.018 165); --anchor-100: oklch(91% 0.035 165); --anchor-200: oklch(82% 0.055 162); --anchor-300: oklch(70% 0.075 160); --anchor-400: oklch(55% 0.085 158); --anchor-500: oklch(42% 0.08 156); /* primary — Miltinson Forest */ --anchor-600: oklch(34% 0.065 156); --anchor-700: oklch(26% 0.05 156); --anchor-800: oklch(19% 0.035 156); --anchor-900: oklch(13% 0.025 156); /* --- Brand semantics ---------------------------------------------------- Amber peaks bright, so `--accent` is the 500 step carrying ink text and hover LIGHTENS to 400. Slate does the opposite. A component reads `--accent-hover`/`--accent-press` and never assumes a direction. ------ */ --accent: var(--signal-500); /* fill — 2.53:1, fill-only */ --accent-hover: var(--signal-400); /* fill — 2.06:1, fill-only */ --accent-press: var(--signal-600); /* fill — 3.69:1 */ --accent-fg: var(--ink-1000); /* on the three fills: 8.30 / 10.17 / 5.69 */ /* The tinted brand surface — a soft chip or an inset panel, the brand counterpart to --status-*-tint. It carries --accent-ink and nothing else, and like every tint it has a dark override: a fill that stays put while its text follows the theme is the pair that inverts. */ --accent-tint: var(--signal-50); /* with --accent-ink: 8.96:1 */ /* Brand amber at legible weight. --accent is a fill: at 2.53:1 against --bg it cannot be a glyph, a mark, or a label. Anything amber that a user has to *read* — a filled rating star, a slider thumb — uses this. */ --accent-ink: var(--signal-800); /* 9.69:1 */ /* The same idea as --accent-ink, one surface over: amber that can be read on an inverted band. --accent-ink is tuned for --bg, so on the band it is the wrong end of the ramp — the docs eyebrow used --signal-400 and fell to 2.07:1 once the band flipped white. */ --accent-ink-inverse: var(--signal-400); /* on --bg-inverse — 10.17:1 */ --anchor: var(--anchor-500); /* fill — 8.13:1 */ --anchor-hover: var(--anchor-400); /* fill — 4.65:1 */ --anchor-press: var(--anchor-600); /* fill — 11.41:1 */ --anchor-fg: var(--ink-0); /* on the three fills: 8.13 / 4.65 / 11.41 */ --anchor-tint: var(--anchor-50); /* with --anchor-ink: 10.23:1 */ /* Forest at legible weight, the --accent-ink of the second brand colour. --anchor is 8.13:1 and could carry text on white, but it is 2.58:1 on a black page, so text drawn in it needs a token that inverts. */ --anchor-ink: var(--anchor-600); /* 11.41:1 */ --focus-ring: var(--ink-1000); /* 21:1 — high-contrast focus, ink-on-bg */ --link: var(--ink-1000); /* 21:1 */ --link-hover: var(--signal-800); /* 9.69:1 — was --signal-700 at 5.86:1 */ --link-visited: var(--ink-700); /* 13.62:1 */ /* A link sitting on a filled surface keeps the fill's own foreground. See the `.ds-button a` block in tokens.css for why this is not just a nicety. */ --link-on-fill: currentColor; /* ====================================================================== STATUS — palette-independent, five members per state ---------------------------------------------------------------------- Status used to be made of brand: `--status-success` was `--anchor-500` and `--status-warning` was `--signal-600`, which made a caution badge the exact colour of the primary CTA. An amber button beside an amber caution badge is not a signal, and under a second palette it would have been a teal one. Success is green because success is green, in every brand this system will ever carry, so these four hues are owned here and no `[data-palette]` block below touches them. | member | job | floor | | ---------------------- | ------------------------------------ | ----- | | --status-X | the fill | 3:1 | | --status-X-on | text drawn ON that fill | 4.5:1 | | --status-X-fg | status text on --bg / --surface | 4.5:1 | | --status-X-tint | quiet alert or row background | — | | --status-X-tint-edge | that tint's hairline | — | `--status-X` is NEVER text. The fills carry over to dark unchanged — each one clears 3:1 against both a white and a black page — and every `-fg` and `-tint` is re-picked in block 2. ====================================================================== */ --status-success: oklch(51.9% 0.145 150); /* fill — 5.17:1 light, 4.06:1 dark */ --status-success-on: var(--ink-0); /* on the fill — 5.17:1 */ --status-success-fg: oklch(44% 0.12 150); /* 7.35:1 on --bg */ --status-success-tint: oklch(96.5% 0.03 150); /* with -fg: 6.71:1 */ --status-success-tint-edge: oklch(88% 0.06 150); /* decorative hairline on the tint */ /* Warning is the documented exception. Yellow cannot reach 3:1 on white and still read as yellow — push it dark enough to clear the floor and it is olive. So `--status-warning` is 1.87:1, below the SC 1.4.11 floor, and a warning fill or rule must be EDGED with `--status-warning-border`, which is what actually carries the 3:1. Painting a bare warning fill is a bug; `organisms/Toast.css` is the worked example. */ --status-warning: oklch(80.25% 0.16 85); /* fill — 1.87:1 light, 11.22:1 dark — must be edged */ --status-warning-border: oklch(61.9% 0.14 70); /* 3.76:1 — the edge that carries SC 1.4.11 */ --status-warning-on: var(--ink-1000); /* on the fill — 11.22:1 */ --status-warning-fg: oklch(47% 0.105 72); /* 6.97:1 on --bg */ --status-warning-tint: oklch(96.5% 0.05 85); /* with -fg: 6.24:1 */ --status-warning-tint-edge: oklch(87% 0.1 85); /* decorative hairline on the tint */ --status-danger: oklch(54.85% 0.2 27); /* fill — 5.41:1 light, 3.88:1 dark */ --status-danger-on: var(--ink-0); /* on the fill — 5.41:1 */ --status-danger-fg: oklch(47% 0.19 27); /* 7.54:1 on --bg */ --status-danger-tint: oklch(96.5% 0.025 27); /* with -fg: 6.69:1 */ --status-danger-tint-edge: oklch(87% 0.07 27); /* decorative hairline on the tint */ --status-info: oklch(54% 0.155 250); /* fill — 5.06:1 light, 4.15:1 dark */ --status-info-on: var(--ink-0); /* on the fill — 5.06:1 */ --status-info-fg: oklch(46% 0.14 250); /* 7.09:1 on --bg */ --status-info-tint: oklch(96.5% 0.03 250); /* with -fg: 6.38:1 */ --status-info-tint-edge: oklch(87% 0.07 250); /* decorative hairline on the tint */ /* ====================================================================== DATA / CATEGORICAL — also palette-independent ---------------------------------------------------------------------- Eight hues at ONE lightness and ONE chroma, so no series shouts louder than another: a categorical scale whose members differ in lightness reads as an ordering the data does not have. They are fills and strokes, never labels — 3.34:1 at the low end is a non-text graphic under SC 1.4.11, and an in-chart label uses `--fg` or, in dark, the chart colour itself, which clears 4.5:1 there. The order is not the hue order. Adjacent series are the ones a reader has to tell apart, so consecutive slots are at least 90° apart on the hue circle; sorting them by hue would put two neighbouring greens side by side in every two-series chart. A legend still needs a label or a shape. Colour is never the only channel that carries meaning (SC 1.4.1), and eight categories is exactly where that rule starts to matter. ====================================================================== */ --chart-1: oklch(62% 0.13 25); /* 3.87:1 */ --chart-2: oklch(62% 0.13 205); /* 3.34:1 */ --chart-3: oklch(62% 0.13 115); /* 3.55:1 */ --chart-4: oklch(62% 0.13 295); /* 3.81:1 */ --chart-5: oklch(62% 0.13 70); /* 3.74:1 */ --chart-6: oklch(62% 0.13 250); /* 3.63:1 */ --chart-7: oklch(62% 0.13 160); /* 3.42:1 */ --chart-8: oklch(62% 0.13 340); /* 3.90:1 */ /* The plot furniture is neutral, so it moves with the palette's grey dial and never competes with a series for attention. */ --chart-grid: var(--border-strong); /* decorative — 1.53:1 */ --chart-axis: var(--border-control); /* 3.64:1 — the axis is a meaningful line */ } /* ========================================================================== BLOCK 2 — ember, dark -------------------------------------------------------------------------- `.dark` is accepted as a compatibility alias because most theme switchers default to a class strategy — next-themes in particular. Either convention works; `[data-theme='dark']` remains the one the system documents. This block also carries the palette-independent dark values for status and chart, for the same reason block 1 carries their light values. ========================================================================== */ [data-theme='dark'], .dark { /* Amber is bright enough to stay put: the same three fills clear 3:1 on a black page as comfortably as they do on a white one, and ink text on them is unchanged. Only the ink and tint tokens, which are tuned to a page, have to move. */ --accent: var(--signal-500); /* fill — 8.30:1 */ --accent-hover: var(--signal-400); /* fill — 10.17:1 */ --accent-press: var(--signal-600); /* fill — 5.69:1 */ --accent-fg: var(--ink-1000); /* on the three fills: 8.30 / 10.17 / 5.69 */ /* The brand tint, mirrored the way the status tints are. Left at --signal-50 it stayed a 97%-light chip on a black page while the ink on it inverted — the same defect the status tints were given dark values to fix. It is the 900 step now, and it is never the un-inverted 50. */ --accent-tint: var(--signal-900); /* with --accent-ink: 7.26:1 */ /* --signal-800 is 9.69:1 on white and 2.17:1 on black, so the readable amber has to invert even though the fill does not. */ --accent-ink: var(--signal-400); /* 10.17:1 */ --accent-ink-inverse: var(--signal-800); /* on --bg-inverse — 9.69:1 */ /* Forest at 42% L is 2.58:1 on a black page — under the 3:1 SC 1.4.11 asks of a fill — so --anchor lifts three steps and its foreground flips to ink. This is the same class of bug as the un-inverted tints: the token was correct on the page it was picked for and on no other. */ --anchor: var(--anchor-300); /* fill — 8.13:1 */ --anchor-hover: var(--anchor-200); /* fill — 12.30:1 */ --anchor-press: var(--anchor-400); /* fill — 4.51:1 */ --anchor-fg: var(--ink-1000); /* on the three fills: 8.13 / 12.30 / 4.51 */ --anchor-tint: var(--anchor-800); /* with --anchor-ink: 10.73:1 */ --anchor-ink: var(--anchor-200); /* 12.30:1 */ /* The light theme's focus ring is ink-on-white. Left un-inverted it stays pure black against a pure black page, which makes every `outline: 2px solid var(--focus-ring)` in the component library invisible in dark mode — a silent failure of the focusVisibleRequired contract. */ --focus-ring: var(--ink-0); /* 21:1 */ --link: var(--ink-0); /* 21:1 */ --link-hover: var(--signal-400); /* 10.17:1 */ --link-visited: var(--ink-200); /* 16.99:1 */ --link-on-fill: currentColor; /* --- Status, dark ------------------------------------------------------ The four fills and their `-on` partners are unchanged from block 1 — each clears 3:1 against a black page as well as a white one, which is what lets a status colour mean the same thing in both themes. Warning still cannot be drawn bare, but on ink it needs no lift: the fill itself is 11.22:1 here, so the border token is the fill. -------------------- */ --status-warning-border: var(--status-warning); /* 11.22:1 */ --status-success-fg: oklch(78% 0.13 150); /* 11.03:1 on --bg */ --status-warning-fg: oklch(82% 0.13 82); /* 11.91:1 on --bg */ --status-danger-fg: oklch(72% 0.16 27); /* 7.91:1 on --bg */ --status-info-fg: oklch(74% 0.12 250); /* 9.16:1 on --bg */ --status-success-tint: oklch(20% 0.04 150); /* with -fg: 9.42:1 */ --status-warning-tint: oklch(22% 0.05 82); /* with -fg: 9.85:1 */ --status-danger-tint: oklch(22% 0.06 27); /* with -fg: 6.63:1 */ --status-info-tint: oklch(20% 0.05 250); /* with -fg: 7.89:1 */ --status-success-tint-edge: oklch(32% 0.06 150); /* decorative hairline on the tint */ --status-warning-tint-edge: oklch(34% 0.07 82); /* decorative hairline on the tint */ --status-danger-tint-edge: oklch(34% 0.09 27); /* decorative hairline on the tint */ --status-info-tint-edge: oklch(32% 0.07 250); /* decorative hairline on the tint */ /* --- Data, dark -------------------------------------------------------- Same eight hues, lifted and slightly desaturated for an ink page. At 8.61–9.59:1 these also clear 4.5:1, so a dark chart may label a series in its own colour where a light one may not. ------------------------- */ --chart-1: oklch(74% 0.12 25); /* 8.66:1 */ --chart-2: oklch(74% 0.12 205); /* 9.52:1 */ --chart-3: oklch(74% 0.12 115); /* 9.31:1 */ --chart-4: oklch(74% 0.12 295); /* 8.78:1 */ --chart-5: oklch(74% 0.12 70); /* 8.92:1 */ --chart-6: oklch(74% 0.12 250); /* 9.16:1 */ --chart-7: oklch(74% 0.12 160); /* 9.59:1 */ --chart-8: oklch(74% 0.12 340); /* 8.61:1 */ --chart-grid: var(--border-strong); /* decorative — 1.54:1 */ --chart-axis: var(--border-control); /* 3.95:1 */ } /* ========================================================================== BLOCK 3 — slate, light -------------------------------------------------------------------------- Teal over slate blue, on charcoal greys. The second palette exists to prove the dial turns, so it differs from ember structurally and not only in hue: - `--n-mult: 1.6` tints the neutrals hard enough that charcoal reads as charcoal. Not one measured neutral ratio moves — the multiplier scales chroma and lightness is what carries contrast. - Teal peaks at 3.41:1 (`--signal-500`), which is a fill and nothing more. So `--accent` is the 600 step with WHITE text, and hover DARKENS to 700. Ember's amber is the exact opposite: the 500 step with ink text, hover lightening to 400. Any component that hardcodes a direction is broken by one of the two palettes; read `--accent-hover` / `--accent-press`. Status and chart are absent from this block on purpose. That absence is what makes them palette-independent. ========================================================================== */ [data-palette='slate'] { --n-h: 252; /* neutral hue */ --n-mult: 1.6; /* charcoal, not near-achromatic */ /* Signal — Teal. */ --signal-50: oklch(97.5% 0.02 195); --signal-100: oklch(94% 0.045 195); --signal-200: oklch(87% 0.08 193); --signal-300: oklch(79% 0.1 191); --signal-400: oklch(71% 0.112 189); --signal-500: oklch(62% 0.115 187); /* peak teal — 3.41:1, a fill and nothing more */ --signal-600: oklch(52% 0.105 186); /* the accent step — 5.11:1 */ --signal-700: oklch(43% 0.09 185); --signal-800: oklch(33% 0.07 184); --signal-900: oklch(23% 0.05 183); /* Anchor — slate blue. --anchor-400 is deliberately parked in the narrow band that clears 4.5:1 against BOTH white and black (4.58 / 4.59). Any single colour can only do that between 4.50:1 and 4.67:1, because the two ratios multiply to 21; that is what lets one ramp step be the hover fill in light and the press fill in dark. */ --anchor-50: oklch(96.5% 0.015 262); --anchor-100: oklch(93% 0.03 262); --anchor-200: oklch(86% 0.05 262); --anchor-300: oklch(76% 0.07 262); --anchor-400: oklch(56.5% 0.085 262); --anchor-500: oklch(50% 0.09 262); /* primary — 6.04:1 */ --anchor-600: oklch(41% 0.08 262); --anchor-700: oklch(32% 0.065 262); --anchor-800: oklch(23% 0.05 262); --anchor-900: oklch(16% 0.035 262); --accent: var(--signal-600); /* fill — 5.11:1 */ --accent-hover: var(--signal-700); /* fill — 7.57:1 — DARKER, unlike ember */ --accent-press: var(--signal-800); /* fill — 11.64:1 */ --accent-fg: var(--ink-0); /* on the three fills: 5.11 / 7.57 / 11.64 */ --accent-tint: var(--signal-50); /* with --accent-ink: 7.09:1 */ --accent-ink: var(--signal-700); /* 7.57:1 */ --accent-ink-inverse: var(--signal-300); /* on --bg-inverse — 11.32:1 */ --anchor: var(--anchor-500); /* fill — 6.04:1 */ --anchor-hover: var(--anchor-400); /* fill — 4.58:1 */ --anchor-press: var(--anchor-600); /* fill — 8.89:1 */ --anchor-fg: var(--ink-0); /* on the three fills: 6.04 / 4.58 / 8.89 */ --anchor-tint: var(--anchor-50); /* with --anchor-ink: 8.03:1 */ --anchor-ink: var(--anchor-600); /* 8.89:1 */ --focus-ring: var(--ink-1000); /* 21:1 */ --link: var(--ink-1000); /* 21:1 */ --link-hover: var(--signal-800); /* 11.64:1 */ --link-visited: var(--ink-700); /* 13.62:1 */ --link-on-fill: currentColor; } /* ========================================================================== BLOCK 4 — slate, dark -------------------------------------------------------------------------- (0,2,0), the only compound selector here, which is what makes it win over block 3 without an `!important`. It restates the whole semantic set rather than diffing block 2, because block 3 is later in source order than block 2 and would otherwise hand slate's LIGHT values to a dark page — the exact shape of the un-inverted-tint bug, one level up. Teal keeps its direction here: the fills step DOWN the ramp on hover and press the way they do in slate light. What moves is where the triad starts — 300/400/500 instead of 600/700/800 — and with it `--accent-fg`, which is ink on a bright teal rather than white on a deep one. Only a ramp step between 4.50:1 and 4.67:1 can carry both, and a CTA is not the place to spend that margin. ========================================================================== */ [data-palette='slate'][data-theme='dark'], [data-palette='slate'].dark { --accent: var(--signal-300); /* fill — 11.32:1 */ --accent-hover: var(--signal-400); /* fill — 8.58:1 — still DARKER, as in slate light */ --accent-press: var(--signal-500); /* fill — 6.16:1 */ --accent-fg: var(--ink-1000); /* on the three fills: 11.32 / 8.58 / 6.16 */ --accent-tint: var(--signal-900); /* with --accent-ink: 11.47:1 */ --accent-ink: var(--signal-200); /* 14.61:1 */ --accent-ink-inverse: var(--signal-800); /* on --bg-inverse — 11.64:1 */ --anchor: var(--anchor-300); /* fill — 9.76:1 */ --anchor-hover: var(--anchor-200); /* fill — 13.72:1 */ --anchor-press: var(--anchor-400); /* fill — 4.59:1 */ --anchor-fg: var(--ink-1000); /* on the three fills: 9.76 / 13.72 / 4.59 */ --anchor-tint: var(--anchor-800); /* with --anchor-ink: 11.06:1 */ --anchor-ink: var(--anchor-200); /* 13.72:1 */ --focus-ring: var(--ink-0); /* 21:1 */ --link: var(--ink-0); /* 21:1 */ --link-hover: var(--signal-300); /* 11.32:1 */ --link-visited: var(--ink-200); /* 16.99:1 */ --link-on-fill: currentColor; } /* ========================================================================== BLOCK 5 — miltinson, light -------------------------------------------------------------------------- Teal over indigo, on violet-leaning greys. The palette this system's own sites render in, contributed so they stop hand-overriding brand tokens in a block no contrast gate can see. Named rather than described by domain: the palette is the system's because it is inert until selected and contrast- gated, and naming one consumer's site in a shipped stylesheet is the part that did not need to be here. The three teals the properties already ship are pinned to ramp steps rather than re-picked, so adoption is a swap and not a redesign: --signal-300 #5eead4 was `teal-light` --signal-500 #14b8a6 was `teal` — the resting CTA fill --signal-600 #0d9488 was `teal-dark` Structurally this follows ember, not slate: `--accent` is the 500 step with ink text, hover LIGHTENS to 400 and press darkens to 600. Teal peaks bright enough that the whole triad carries `--ink-1000` at AA in both themes (8.44 / 11.10 / 5.60), which is what lets one `--accent-fg` serve both blocks — the thing slate has to spend two different foregrounds on. Status and chart are absent from this block on purpose. That absence is what makes them palette-independent. ========================================================================== */ [data-palette='miltinson'] { --n-h: 252; /* neutral hue */ --n-mult: 1; /* near-achromatic, as ember */ /* Signal — Miltinson Teal. */ --signal-50: oklch(97.5% 0.02 180); --signal-100: oklch(94% 0.045 180); --signal-200: oklch(90% 0.08 181); --signal-300: oklch(85.5% 0.125 181); /* #5eead4 */ --signal-400: oklch(78% 0.13 182); --signal-500: oklch(70.4% 0.123 182.5); /* peak teal, #14b8a6 — 2.49:1, a fill and nothing more */ --signal-600: oklch(60.02% 0.1038 184.7); /* #0d9488 */ --signal-700: oklch(50% 0.088 186); --signal-800: oklch(38% 0.068 187); /* the readable step — 9.65:1 */ --signal-900: oklch(27% 0.048 188); /* Anchor — indigo. Held ~90 degrees off the signal so a trust mark never reads as a muted CTA, and pulled toward the neutral hue so it sits on the greys rather than on top of them. --anchor-400 is parked in the narrow band that clears 4.5:1 against both white and black (4.61 / 4.55), which is what lets one step be the hover fill in light and the press fill in dark. */ --anchor-50: oklch(96.5% 0.015 275); --anchor-100: oklch(93% 0.03 275); --anchor-200: oklch(86% 0.05 274); --anchor-300: oklch(76% 0.07 272); --anchor-400: oklch(56.5% 0.09 270); --anchor-500: oklch(50% 0.095 270); /* primary — 6.09:1 */ --anchor-600: oklch(41% 0.085 270); --anchor-700: oklch(32% 0.07 270); --anchor-800: oklch(23% 0.055 270); --anchor-900: oklch(16% 0.04 270); --accent: var(--signal-500); /* fill — 2.49:1, fill-only */ --accent-hover: var(--signal-400); /* fill — 1.89:1 — LIGHTER, as ember */ --accent-press: var(--signal-600); /* fill — 3.74:1 */ --accent-fg: var(--ink-1000); /* on the three fills: 8.44 / 11.10 / 5.61 */ --accent-tint: var(--signal-50); /* with --accent-ink: 9.04:1 */ --accent-ink: var(--signal-800); /* 9.65:1 */ --accent-ink-inverse: var(--signal-400); /* on --bg-inverse — 11.10:1 */ --anchor: var(--anchor-500); /* fill — 6.09:1 */ --anchor-hover: var(--anchor-400); /* fill — 4.61:1 */ --anchor-press: var(--anchor-600); /* fill — 8.96:1 */ --anchor-fg: var(--ink-0); /* on the three fills: 6.09 / 4.61 / 8.96 */ --anchor-tint: var(--anchor-50); /* with --anchor-ink: 8.08:1 */ --anchor-ink: var(--anchor-600); /* 8.96:1 */ --focus-ring: var(--ink-1000); /* 21:1 */ --link: var(--ink-1000); /* 21:1 */ --link-hover: var(--signal-800); /* 9.65:1 */ --link-visited: var(--ink-700); /* 13.63:1 */ --link-on-fill: currentColor; } /* ========================================================================== BLOCK 6 — miltinson, dark -------------------------------------------------------------------------- (0,2,0), so it wins over block 5 without an `!important`. It restates the whole semantic set rather than diffing block 2, for the same reason slate's dark block does: block 5 is later in source order than block 2 and would otherwise hand miltinson's LIGHT values to a dark page. The accent triad does not move between themes here. 500/400/600 carries `--ink-1000` at 8.44 / 11.10 / 5.61 on white and at exactly the same three ratios on black, because all three are measured against the fill rather than against the page. A teal bright enough to be a fill on white is bright enough to be one on black; that is the property ember's amber has and slate's deeper teal does not. ========================================================================== */ [data-palette='miltinson'][data-theme='dark'], [data-palette='miltinson'].dark { --accent: var(--signal-500); /* fill — 8.44:1 */ --accent-hover: var(--signal-400); /* fill — 11.10:1 — LIGHTER, as in miltinson light */ --accent-press: var(--signal-600); /* fill — 5.61:1 */ --accent-fg: var(--ink-1000); /* on the three fills: 8.44 / 11.10 / 5.61 */ --accent-tint: var(--signal-900); /* with --accent-ink: 7.81:1 */ --accent-ink: var(--signal-400); /* 11.10:1 */ --accent-ink-inverse: var(--signal-800); /* on --bg-inverse — 9.65:1 */ --anchor: var(--anchor-300); /* fill — 9.71:1 */ --anchor-hover: var(--anchor-200); /* fill — 13.66:1 */ --anchor-press: var(--anchor-400); /* fill — 4.55:1 */ --anchor-fg: var(--ink-1000); /* on the three fills: 9.71 / 13.66 / 4.55 */ --anchor-tint: var(--anchor-800); /* with --anchor-ink: 11.05:1 */ --anchor-ink: var(--anchor-200); /* 13.66:1 */ --focus-ring: var(--ink-0); /* 21:1 */ --link: var(--ink-0); /* 21:1 */ --link-hover: var(--signal-300); /* 14.20:1 */ --link-visited: var(--ink-200); /* 16.99:1 */ --link-on-fill: currentColor; } /* ========================================================================== Miltinson Design System — Design Tokens mobile.css — the platform layer ========================================================================== The platform dial: geometry and the small end of the type ramp, retuned for a device held at arm's length rather than sat on a desk. @imported by tokens.css alongside palettes.css. This file changes no colour, and that is load-bearing rather than a coincidence of scope. Every contrast ratio the system claims is measured against the values in tokens.css and palettes.css and asserted in contrast.test.mjs. A platform layer that moved a single colour token would invalidate all of them silently — the assertions would still pass, because they read the tokens this file does not touch, while a phone rendered something nobody measured. Radii, font sizes, gutters and container widths have no contrast consequences; colour does. Keep colour out of here. ========================================================================== */ /* --- Attribute selector -------------------------------------------------- `:root[data-platform='mobile']`, not `[data-platform='mobile']`, and the extra `:root` is the whole point. Bare `[data-platform='mobile']` is (0,1,0) — exactly the specificity of tokens.css's own `:root`. tokens.css @imports this file at the top, so every declaration here lands *before* the `:root` block it means to override, and at equal specificity the later rule wins: the attribute block would parse cleanly, match correctly, and do nothing at all. Qualifying with `:root` makes it (0,2,0), which outranks that `:root` regardless of source order. Only the tokens listed below are redeclared. --radius-none, --radius-pill and --container-lg upward are deliberately absent: they inherit from tokens.css, and a value repeated here is a value that has to be kept in step with two files. ------------------------------------------------------------------------- */ :root[data-platform='mobile'] { /* Radii — coarser across the board. The desktop ramp starts at 2px, which is a legible corner on a monitor at desk distance and reads as a rendering artefact on a phone at arm's length: too small to look intentional, big enough to look like the edge failed to paint. Each step roughly doubles what the desktop set uses so the corner survives the viewing distance. */ --radius-xs: 4px; --radius-sm: 8px; --radius-md: 12px; --radius-lg: 16px; --radius-xl: 24px; /* Type — the small end only, floored. 10px and 11px are fine on a monitor and are not legible on a phone, so --fs-3xs and --fs-2xs collapse onto a shared 12px floor and the two steps above them lift with them. Nothing at or above --fs-md moves, on purpose. Scaling the whole ramp is the obvious instinct and the wrong one: body copy and every heading are what line lengths, component heights and wrap points are built around, so shifting them reflows every layout in the system on one device class. The small end is captions, eyebrows and meta text — it carries no layout. */ --fs-3xs: 12px; --fs-2xs: 12px; --fs-xs: 13px; --fs-sm: 15px; /* A flat gutter. The desktop value is max(20px, round(4vw, 4px)) — the viewport-proportional term is what keeps a wide page from running edge to edge, and on a phone it is pure loss: it takes its cut from a content column that has no width to spare. A fixed 16px each side is what a 390px viewport can afford. */ --gutter: 16px; /* Fluid shells at the small end. --container-sm and --container-md are fixed 640px and 768px, both wider than a 390px viewport, so a shell built on either overflows and the page scrolls sideways. At 100% they are the gutter's job to inset. --container-lg and up are untouched: nothing that asks for a 1024px shell is being laid out for a phone. */ --container-sm: 100%; --container-md: 100%; } /* --- Breakpoint fallback ------------------------------------------------- The same layer, reached without JavaScript. Both mechanisms exist because they answer different questions. An app that renders a known-mobile shell already knows what it is and states it once, on the root element. A responsive site cannot know — it is one document served to everything — so it needs the viewport to say it instead, and `pointer: coarse` is the half of this query that keeps a narrow desktop window out: a browser dragged to 400px wide is still a mouse, and shipping thumb-sized radii and a floored type ramp to it would be a regression, not an adaptation. `:root:root` is a specificity bump, not a typo. A bare `:root` inside a media query is still (0,1,0) — media queries do not add specificity — and would lose to tokens.css's `:root` for the same source-order reason as above. Repeating the selector makes it (0,2,0). The values below are written out rather than shared with the block above through a var() indirection. The repetition is deliberate: an indirection would introduce a third dial that neither `data-platform` nor this query owns, and whichever of the two set it last would silently decide the other. */ @media (max-width: 480px) and (pointer: coarse) { :root:root { --radius-xs: 4px; --radius-sm: 8px; --radius-md: 12px; --radius-lg: 16px; --radius-xl: 24px; --fs-3xs: 12px; --fs-2xs: 12px; --fs-xs: 13px; --fs-sm: 15px; --gutter: 16px; --container-sm: 100%; --container-md: 100%; } } :root { /* ====================================================================== COLOR — the neutral ramp ---------------------------------------------------------------------- Every step is `oklch(% calc( * var(--n-mult)) var(--n-h))`. The two dials are declared by the palette (palettes.css), never here — `:root` and `[data-palette='…']` are both (0,1,0), and this file's `:root` comes after the @import, so a default written here would outrank every palette and the dial would never turn. What the split buys: lightness is untouched by either dial, and lightness is what carries contrast. So a palette can take the greys from near-achromatic (`--n-mult: 1`) to charcoal (`1.6`) and not one measured neutral ratio moves. contrast.test.mjs measures the ramp under every palette rather than taking that on trust. `--ink-0` and `--ink-1000` are pinned white and black. They are the page and its inverse, not steps in a ramp, and a tinted white is a different claim entirely. ====================================================================== */ --ink-0: #ffffff; /* pure white */ --ink-50: oklch(98.4% calc(0.002 * var(--n-mult)) var(--n-h)); /* off-white surface */ --ink-100: oklch(96.2% calc(0.003 * var(--n-mult)) var(--n-h)); /* hairline backgrounds */ --ink-200: oklch(92.8% calc(0.004 * var(--n-mult)) var(--n-h)); /* dividers */ --ink-300: oklch(86% calc(0.005 * var(--n-mult)) var(--n-h)); /* borders */ --ink-400: oklch(70% calc(0.006 * var(--n-mult)) var(--n-h)); /* disabled / placeholder */ --ink-500: oklch(55% calc(0.008 * var(--n-mult)) var(--n-h)); /* tertiary text */ --ink-600: oklch(42% calc(0.01 * var(--n-mult)) var(--n-h)); /* secondary text */ --ink-700: oklch(30% calc(0.01 * var(--n-mult)) var(--n-h)); /* high-contrast secondary */ --ink-800: oklch(20% calc(0.01 * var(--n-mult)) var(--n-h)); /* near-black surfaces */ --ink-900: oklch(12% calc(0.008 * var(--n-mult)) var(--n-h)); /* deep surface */ --ink-950: oklch(6% calc(0.006 * var(--n-mult)) var(--n-h)); /* card on dark */ --ink-1000: #000000; /* pure black */ /* ====================================================================== COLOR — semantic (what components reference) ====================================================================== */ --bg: var(--ink-0); /* page background */ --bg-subtle: var(--ink-50); /* zebra / panel */ --bg-muted: var(--ink-100); /* code blocks, inset wells */ --bg-inverse: var(--ink-1000); /* dark hero, footer */ --surface: var(--ink-0); /* cards */ --surface-2: var(--ink-50); /* nested cards */ --surface-3: var(--ink-100); /* deeper inset */ /* Decorative edges. 1.24:1 and 1.53:1 against --bg — below the 3:1 that SC 1.4.11 asks of a control boundary, on purpose. These separate surfaces from each other (card seams, table rules, dividers, floating-panel edges), where nothing depends on seeing the line. The moment an edge is the only thing telling a user where an input or a toggle is, it is a control boundary and wants --border-control instead. */ --border: var(--ink-200); /* decorative hairline — 1.24:1 */ --border-strong: var(--ink-300); /* decorative, emphasized — 1.53:1 */ --border-inverse: oklch(100% 0 0 / 0.12); /* on dark */ /* On the same dial as the ramp: it is a neutral, so it follows the palette's greys rather than sitting at a fixed hue beside them. */ --border-control: oklch( 62% calc(0.008 * var(--n-mult)) var(--n-h) ); /* 3.64:1 on --bg — control edges, SC 1.4.11 */ --fg: var(--ink-1000); /* primary text */ --fg-1: var(--ink-1000); /* alias */ --fg-2: var(--ink-600); /* secondary text */ --fg-3: var(--ink-500); /* tertiary / meta */ --fg-4: var(--ink-400); /* decorative / non-informational grey — 2.67:1 */ --fg-disabled: var(--ink-500); /* 4.85:1 — disabled control text */ --fg-inverse: var(--ink-0); /* on dark */ /* Muted text on an inverted band. --fg-inverse was the only foreground the inverse pair shipped, so anything secondary on a dark hero or footer had to reach for a fixed ramp step — and a fixed step does not flip when the band does. The docs site hit exactly that: --ink-300 on a band that turns white in dark mode measured 1.53:1, on all 71 pages via the footer. These are the mirror theme's own --fg-2 / --fg-3. --bg-inverse in one theme is exactly --bg in the other, so their ratio on the band is the ratio the mirror theme already measures against its page — asserted as a pair in contrast.test.mjs rather than against --bg, which would be the wrong background for them. */ --fg-inverse-2: var(--ink-300); /* secondary on --bg-inverse — 13.73:1 */ --fg-inverse-3: var(--ink-400); /* tertiary / meta on --bg-inverse — 7.87:1 */ /* Legacy alias of --accent-fg, kept because consumers import it by name. "signal" was the old word for the accent fill, and the pairing is the same one: the foreground the accent fill carries. New code uses --accent-fg. */ --fg-on-signal: var(--accent-fg); /* --- Targets ----------------------------------------------------------- Hit areas, as tokens rather than as a number retyped in thirty stylesheets. Touch targets are scoped, not blanket: --target-min is the absolute AA floor SC 2.5.8 sets and is what a dense inline affordance (a chip's remove button, a calendar day, a rating star) may shrink to, and is the floor it is *measured* against there and everywhere else; --target is what a primary control gets, and what every primary control gets under data-platform="mobile" — the dense affordances are excluded from that floor by name rather than inflated to it, because they are already held to --target-min (see the floor at the foot of this file); --target-lg is for the one action a thumb reaches for without looking. An expanded hit area must never overlap a sibling. ---------------------------------------------------------------------- */ --target-min: 24px; /* absolute AA floor, SC 2.5.8 — the dense tier, on every platform */ --target: 44px; /* primary controls, and every primary control on mobile */ --target-lg: 56px; /* thumb-zone primary action */ /* --- Safe areas -------------------------------------------------------- The notch, the home indicator and the rounded corners, as four tokens that resolve to 0px on every device that has none. Reading env() through a token rather than inline is what lets a sticky footer or a full-bleed sheet be written once: `padding-bottom: calc(var(--space-4) + var(--safe-b))` is correct on a phone and unchanged on a desktop. ---------------------------------------------------------------------- */ /* The @kind annotations are load-bearing, not decoration. The classifier in @elirobinson/ai-patterns reads a token's kind off its resolved value, and `env(...)` matches neither its colour pattern nor its length pattern — so without these four the insets file under "other" and stop being offered where a spacing value is picked. The annotation lives here because the classification is the token's to state, not the classifier's to guess. */ --safe-t: env(safe-area-inset-top, 0px); /* @kind spacing */ --safe-r: env(safe-area-inset-right, 0px); /* @kind spacing */ --safe-b: env(safe-area-inset-bottom, 0px); /* @kind spacing */ --safe-l: env(safe-area-inset-left, 0px); /* @kind spacing */ /* The wash behind a modal, a sheet or a drawer. Pinned to black at both ends rather than themed to the page: a scrim's job is to push everything behind it back, and a scrim that turned white on a light page would push it forward instead. Only the opacity moves — a dark page needs more of it to separate the same two planes. */ --scrim: oklch(0% 0 0 / 0.56); /* ====================================================================== TYPE — families Each family reads a `--ds-font-*-override` first and falls back to the stack below, so a consumer can re-point a family without touching this file and without reasoning about the cascade: :root { --ds-font-sans-override: var(--font-geist-sans); --ds-font-mono-override: var(--font-geist-mono); } This exists because the family is sometimes the framework's to supply, not ours. `next/font` never exposes a family under its real name — it generates a hashed one (`__Geist_e8ce0c`) and hands it over through a CSS variable — so the literal 'Geist' below matches nothing it loaded and the page silently renders in ui-sans-serif. The hook works from any cascade layer *because nothing here declares these three properties*. This stylesheet is unlayered, and an unlayered declaration beats a layered one at any origin, so a consumer overriding --font-sans itself from inside `@layer base` silently loses. Overriding --ds-font-sans-override has nothing to lose to. Keep it that way: never declare a --ds-font-*-override in this file. ====================================================================== */ --font-sans: var( --ds-font-sans-override, 'Geist', ui-sans-serif, system-ui, -apple-system, 'Segoe UI', Roboto, sans-serif ); --font-display: var( --ds-font-display-override, 'Geist', ui-sans-serif, system-ui, -apple-system, sans-serif ); --font-mono: var( --ds-font-mono-override, 'JetBrains Mono', ui-monospace, 'SF Mono', Menlo, Consolas, monospace ); /* Type scale — a perfect-fourth-ish ramp (1.25), tuned for tech UI */ --fs-3xs: 10px; --fs-2xs: 11px; --fs-xs: 12px; --fs-sm: 14px; --fs-md: 16px; /* base */ --fs-lg: 18px; --fs-xl: 20px; --fs-2xl: 24px; --fs-3xl: 30px; --fs-4xl: 38px; --fs-5xl: 48px; --fs-6xl: 64px; --fs-7xl: 84px; --fs-8xl: 112px; /* Line-heights */ --lh-tight: 1.05; --lh-snug: 1.2; --lh-normal: 1.5; --lh-relaxed: 1.65; /* Tracking */ --tr-tight: -0.025em; --tr-snug: -0.015em; --tr-normal: 0em; --tr-wide: 0.04em; --tr-caps: 0.08em; /* Weights */ --fw-light: 300; --fw-regular: 400; --fw-medium: 500; --fw-semibold: 600; --fw-bold: 700; --fw-black: 800; /* ====================================================================== SPACING — 4px base, 8pt-friendly ====================================================================== */ --space-0: 0; --space-px: 1px; --space-1: 4px; --space-2: 8px; --space-3: 12px; --space-4: 16px; --space-5: 20px; --space-6: 24px; --space-7: 32px; --space-8: 40px; --space-9: 48px; --space-10: 64px; --space-11: 80px; --space-12: 96px; --space-13: 128px; --space-14: 160px; --space-15: 192px; /* ====================================================================== RADII — sharp by default. We're tech-forward, not pillowy. ====================================================================== */ --radius-none: 0; --radius-xs: 2px; --radius-sm: 4px; /* default for inputs, buttons */ --radius-md: 6px; /* cards */ --radius-lg: 10px; /* modals */ --radius-xl: 16px; /* heroes */ --radius-pill: 999px; /* tags only */ /* ====================================================================== SHADOWS — restrained. Borders do most of the work. ====================================================================== */ --shadow-xs: 0 1px 0 0 oklch(0% 0 0 / 0.04); --shadow-sm: 0 1px 2px 0 oklch(0% 0 0 / 0.06), 0 0 0 1px oklch(0% 0 0 / 0.04); --shadow-md: 0 4px 12px -2px oklch(0% 0 0 / 0.08), 0 0 0 1px oklch(0% 0 0 / 0.04); --shadow-lg: 0 12px 32px -8px oklch(0% 0 0 / 0.14), 0 0 0 1px oklch(0% 0 0 / 0.05); --shadow-xl: 0 24px 56px -12px oklch(0% 0 0 / 0.2), 0 0 0 1px oklch(0% 0 0 / 0.05); /* Inner shadow for inset wells */ --shadow-inset: inset 0 1px 0 0 oklch(0% 0 0 / 0.04); /* Focus ring — uniform across the system */ --shadow-focus: 0 0 0 2px var(--bg), 0 0 0 4px var(--focus-ring); /* ====================================================================== MOTION ====================================================================== */ --ease-out: cubic-bezier(0.22, 1, 0.36, 1); --ease-in-out: cubic-bezier(0.65, 0, 0.35, 1); --ease-spring: cubic-bezier(0.34, 1.56, 0.64, 1); --dur-instant: 80ms; --dur-fast: 140ms; --dur-normal: 220ms; --dur-slow: 420ms; /* ====================================================================== LAYOUT ====================================================================== */ --container-sm: 640px; --container-md: 768px; --container-lg: 1024px; --container-xl: 1280px; --container-2xl: 1440px; /* Quantised to 4px, not because the gutter needs to be a multiple of four, but so it is always a whole number of pixels. Bare 4vw is 51.2px at a 1280px viewport, and that fraction does not stay local: it becomes the origin of every centred shell, so the grid track after it lands on 853.625px and every full-width rule, table and code block inside it has partially-covered pixels at both ends. Those partial coverages round inconsistently between runs, which showed up as 1-4px snapshot diffs on a rotating set of pages — the interior always identical, only the end caps moving. round() keeps the gutter responsive and removes the fraction at the source. max() still wins below ~500px, where the flat 20px applies. */ --gutter: max(20px, round(4vw, 4px)); /* Z-index ladder */ --z-base: 0; --z-raised: 10; --z-sticky: 100; --z-overlay: 1000; --z-modal: 1100; --z-toast: 1200; --z-tooltip: 1300; } /* ========================================================================== Dark mode — opt-in via [data-theme="dark"] -------------------------------------------------------------------------- `.dark` is accepted as a compatibility alias because most theme switchers default to a class strategy. next-themes in particular defaults to `attribute="class"`, so wiring it up without `attribute="data-theme"` used to leave dark mode silently doing nothing. Either convention works now; `[data-theme="dark"]` remains the one the system documents. ========================================================================== */ [data-theme='dark'], .dark { --bg: var(--ink-1000); --bg-subtle: var(--ink-950); --bg-muted: var(--ink-900); --bg-inverse: var(--ink-0); --surface: var(--ink-950); --surface-2: var(--ink-900); --surface-3: var(--ink-800); --border: oklch(100% 0 0 / 0.1); --border-strong: oklch(100% 0 0 / 0.18); --border-inverse: var(--ink-200); --border-control: oklch(100% 0 0 / 0.42); /* 3.95:1 over --bg */ --fg: var(--ink-0); --fg-1: var(--ink-0); --fg-2: var(--ink-300); --fg-3: var(--ink-400); --fg-4: var(--ink-500); --fg-disabled: var(--ink-400); /* 7.87:1 */ --fg-inverse: var(--ink-1000); --fg-inverse-2: var(--ink-600); /* secondary on --bg-inverse — 8.45:1 */ --fg-inverse-3: var(--ink-500); /* tertiary / meta on --bg-inverse — 4.85:1 */ /* The wash behind an overlay, heavier on an ink page. The same 56% that separates a modal from a white page leaves a dark one looking merely dimmed — the plane behind it is already near-black, so there is less luminance to take away. Only the alpha moves; the colour stays black. */ --scrim: oklch(0% 0 0 / 0.72); } /* ========================================================================== SEMANTIC TYPE — class-based shortcuts. Use these in components. ========================================================================== */ .t-display-1 { font-family: var(--font-display); font-weight: var(--fw-semibold); font-size: clamp(48px, 7vw, var(--fs-8xl)); line-height: var(--lh-tight); letter-spacing: var(--tr-tight); color: var(--fg); } .t-display-2 { font-family: var(--font-display); font-weight: var(--fw-semibold); font-size: clamp(38px, 5.5vw, var(--fs-7xl)); line-height: var(--lh-tight); letter-spacing: var(--tr-tight); color: var(--fg); } .t-h1 { font-family: var(--font-sans); font-weight: var(--fw-semibold); font-size: var(--fs-5xl); line-height: var(--lh-tight); letter-spacing: var(--tr-tight); color: var(--fg); } .t-h2 { font-family: var(--font-sans); font-weight: var(--fw-semibold); font-size: var(--fs-4xl); line-height: var(--lh-snug); letter-spacing: var(--tr-snug); color: var(--fg); } .t-h3 { font-family: var(--font-sans); font-weight: var(--fw-semibold); font-size: var(--fs-3xl); line-height: var(--lh-snug); letter-spacing: var(--tr-snug); color: var(--fg); } .t-h4 { font-family: var(--font-sans); font-weight: var(--fw-semibold); font-size: var(--fs-2xl); line-height: var(--lh-snug); letter-spacing: var(--tr-snug); color: var(--fg); } .t-h5 { font-family: var(--font-sans); font-weight: var(--fw-semibold); font-size: var(--fs-xl); line-height: var(--lh-snug); color: var(--fg); } .t-lead { font-family: var(--font-sans); font-weight: var(--fw-regular); font-size: var(--fs-xl); line-height: var(--lh-relaxed); color: var(--fg-2); } .t-body { font-family: var(--font-sans); font-weight: var(--fw-regular); font-size: var(--fs-md); line-height: var(--lh-relaxed); color: var(--fg); } .t-body-sm { font-family: var(--font-sans); font-weight: var(--fw-regular); font-size: var(--fs-sm); line-height: var(--lh-relaxed); color: var(--fg-2); } .t-caption { font-family: var(--font-sans); font-weight: var(--fw-regular); font-size: var(--fs-xs); line-height: var(--lh-normal); color: var(--fg-3); } .t-eyebrow { font-family: var(--font-mono); font-weight: var(--fw-medium); font-size: var(--fs-xs); line-height: 1; letter-spacing: var(--tr-caps); text-transform: uppercase; color: var(--fg-2); } .t-mono { font-family: var(--font-mono); font-weight: var(--fw-regular); font-size: var(--fs-sm); line-height: var(--lh-normal); color: var(--fg); font-variant-ligatures: none; } .t-code { font-family: var(--font-mono); font-weight: var(--fw-regular); font-size: 0.92em; background: var(--bg-muted); border: 1px solid var(--border); border-radius: var(--radius-xs); padding: 0.1em 0.35em; } /* ========================================================================== Sensible defaults ========================================================================== */ *, *::before, *::after { box-sizing: border-box; } html, body { margin: 0; padding: 0; } body { font-family: var(--font-sans); font-size: var(--fs-md); line-height: var(--lh-relaxed); color: var(--fg); background: var(--bg); -webkit-font-smoothing: antialiased; text-rendering: optimizeLegibility; } /* Native form controls do not inherit `font-family`. The UA stylesheet gives them Arial (monospace for