/* =========================================================================== The whole interface, in one file, in CASCADE ORDER. Read the order rules before moving anything; the section list is at the foot of this block. ---- why it is one file ---- About 640 rules; the length is commentary, not CSS. Splitting it by component was refused because the cascade is load-bearing — some fifty selectors are written twice at EQUAL specificity with nothing but file order deciding, and there is no build step to keep two files in step. stylecheck.mjs also reads one path per surface (SURFACES[].css) and would stop sweeping what moved out. ---- the order rules ---- 1. EVERY max-width block sits after the rules it overrides. This is the one that bites: media queries add no specificity, so a base rule written BELOW its own override simply wins at every width. `.turn-current .turn-translation` did exactly that for as long as it was filed under the gate section — see the note beside it in HISTORY. No check here can see a pair like that. 2. The rules for one thing live TOGETHER. That is rule 1's only real defence. 3. `dialogs on a small screen` is LAST and must stay last — it overrides id-scoped dialog geometry and wins on file order, not specificity. 4. There is a SECOND prefers-reduced-motion block near the foot, forced there because what it turns off lives inside a max-width query. 5. `.layout.no-sidebar` is written after `.layout.sidebar-hidden` so it wins on the frame both are present. ---- a tint is a token, not a recipe ---- `.banner`, `.hints`, `.tailor-row` and `.wizard-alert` each write the color-mix ONCE against `--tint`, so a variant is `--tint: var(--good)` and nothing else. Do not add one that restates the mixing. ---- the sections, in order ---- LABEL VOICE the mono/uppercase treatment every micro-label takes HEADER · MARK the wordmark — a verbatim copy of landing/landing.css LAYOUT the page grid, the sidebar and its rail INPUTS fields, the ghost/solid button pair, pills MODAL the dialog shell, its variants, the conversation list CONTROLS the sidebar's set-up block, meters, fields INTERVIEW MODE document rows, help dots, the switch ALERTS busy/alert dialogs, tinted document rows, categories, bulb HISTORY the transcript, the answers box and its strip, Advice menu GATE the sign-in card SETTINGS the account dialog's forms and category rows HOME · CHARTS the home screen, its tiles and canvases, then its 520px block LANE DOTS … MODE MENU the sidebar's remaining blocks CAPTURE BUTTON one control for start, stop, elapsed VISUAL ASSISTANT the camera panel and the New dialog SIDE PANEL · AUTO ANSWERS · BOOKMARK WIZARD one scaffold, its parts shown per step THE HANDSET the narrow header and set-up dialog (max-width: 700px) (min-width: 701px) the home screen fits the viewport PLANS the pricing dialog DIALOGS ON A SMALL SCREEN full-screen dialogs — LAST, see rule 3 =========================================================================== */ /* The palette is the landing page's: neon teal into violet on near-black charcoal. Teal is you — and the AI, which works on your side of the glass; violet is the far end. The neutrals, --me and --them are landing.css's own values and `stylecheck.mjs` asserts they stay level with it; everything else here is the app's, because the landing has no modal, no meter and no document row to colour. It was a bluish charcoal with a blue/amber speaker pair. Blue and amber separate further round the wheel than teal and violet do, which genuinely mattered in the 7px meter bars, so the lanes lean on LIGHTNESS as well as hue to keep them apart at that size rather than on hue alone. */ :root { /* ---- surfaces, in the order they stack ---- */ --sunken: #06080a; /* below the page: inputs, meter and progress tracks */ --bg: #090b0d; --panel: #141a1c; /* cards, modals, side blocks */ --raise: #1b2224; /* chrome that sits on top: buttons, row hovers */ /* Hairlines, as alpha rather than a mixed colour, which is what the landing uses and what makes an edge read as a fold in the surface instead of a drawn box. The app stacks page → panel → modal, so an alpha line resolves a little brighter at each depth — that is the point, not a flaw: a border inside a modal SHOULD be slightly stronger than the same border on the page behind it, because the surface under it is lighter. */ --line: rgba(255, 255, 255, 0.09); --line-strong: rgba(255, 255, 255, 0.17); /* hovered, or switched off */ /* ---- ink ---- */ --text: #eef2f3; --mute: #c2cccd; /* body of a settled transcript line: below --text, well above --dim, which would be too quiet to read */ --dim: #98a4a8; /* The quietest ink that is still TEXT, and it has to stay readable, because what it sets is not decoration: the ME/THEM tag on every transcript line, the original under a translated one, the timestamp, and the sentence under each card in the wizard that is what makes the choice answerable. It was #5e696d, which measured 3.11:1 on --panel and 3.49:1 on --bg — under the 4.5:1 WCAG AA floor for text below 18.66px, which is every one of the things above. Same hue and saturation, lifted in value until it clears: 4.61:1 on --panel, 5.17:1 on --bg. Shared with landing.css and asserted by stylecheck.mjs, so it moves in both files or in neither. */ --faint: #77858a; /* ---- the three capture lanes ---- One per source, because a turn is labelled by the source it arrived on and one transcript can hold all three. `room` is phone mode, where both voices share a single microphone, so it is neither of the other two and must not look like either — amber puts it about as far from both as the wheel allows. It used to borrow --tailored, which is now the wrong colour twice over: that token has become blue, and before this it held exactly the violet --them now uses, so the far end and the room would have been the same colour in the same transcript. */ --me: #38d9be; --them: #a78bfa; --room: #ffb454; /* ---- status ---- */ --good: #3ddc84; --bad: #ff6b6b; /* The amber that means ATTENTION rather than a speaker: a lane gone quiet, a flagged turn, talking too much, a capture running, the middle light of the fresh/ageing/stale stamp. It exists because eighteen of these were riding --them, which was amber only by coincidence, and the palette swap turned every one of them violet — a live capture button and a `.state-yellow` dot in the far end's colour, beside a transcript full of violet Them labels. `.wizard-alert` had already worked around it with a literal orange and a comment saying why. **--them is for the far end's lane and nothing else**; if what you want is amber, it is this. */ --warn: #e0a33e; /* What belongs to the ORGANISATION rather than to the person signed in. Two tabs in the Settings dialog carry it, and nothing else may: every other tab in that strip is about the account, and the two that are not had to say so on the strip itself rather than only once inside. Its own token rather than a borrowed one, for the reason --warn exists. Every hue in this file already means something — a lane, a capture, a refusal, a verdict — and "a different scope" is a genuinely new meaning, so it gets a name instead of quietly riding on somebody else's. Slate blue: the one region of the wheel neither speaker lane, neither traffic light and neither state colour has a claim on. */ --org: #7f9cc4; /* ---- dark ink for a bright fill ---- Each is its own partner's hue taken almost to black, not one neutral near-black: they read as the same colour turned down rather than as a hole punched in it. They have to move whenever their partner moves, which is what makes them tokens instead of five literals. */ --on-me: #04211c; --on-them: #1b0f38; --on-good: #062117; --on-bad: #2b0c0c; --on-warn: #1a1400; /* A CV rewritten for this job. Blue, which --me vacated on the way to teal; it marks a DERIVED document and has nothing to do with a speaker, which is the other half of what this token used to be quietly doing. */ --tailored: #4a9eff; /* The face the landing page is set in, adopted here so the wordmark is the same shape in both places — it is drawn in the system's own face rather than a loaded one, so the stack IS the mark. Held as a token because stylecheck.mjs can then assert the two files still agree about it. */ --sans: system-ui, -apple-system, "Segoe UI", Roboto, "Helvetica Neue", sans-serif; /* The landing's second face, and the single biggest reason the two looked like different products even after the palette matched. Every small label over there is mono, uppercase and widely tracked — the section heads, the nav, the buttons, the speaker tags on the transcript card, the fineprint. This app had no mono at all and set every label in the same sans as the prose, which is what made it read as a dense admin panel beside an editorial page. See the LABEL VOICE section below for where it goes. */ --mono: ui-monospace, "SF Mono", "Cascadia Code", Consolas, Menlo, monospace; /* The BRAND's pair — the two colours in the mark and the favicon, teal into violet, matching landing.css's --you/--them exactly. Kept level by stylecheck.mjs, which is the only thing that can: the two stylesheets cannot import each other. The same two values as --me/--them above, and still their own tokens. They answer a different question: this pair is the product's identity, that pair is which side of a call a line came from. If the lanes are ever recoloured the mark must not follow, and having both names is what buys that. Nothing but the mark and the favicon may use these. */ --brand-you: #38d9be; --brand-them: #a78bfa; } * { box-sizing: border-box; } /* Every scrollbar in the app — the sidebar, the conversation list, a tall modal, the transcript — in the page's own dark palette rather than whatever the OS theme happens to draw by default, which on most Windows setups is a pale grey slab that looks like it belongs to a different application. `scrollbar-color`/`scrollbar-width` is the standard property and covers Chrome 121+ on its own; the `::-webkit-scrollbar` rules beside it are what the capture APIs' Chrome/Edge requirement actually needs supported today. Applied on * rather than named per scrollable element, so a container that gains overflow later is never the one exception that still shows the OS default. */ * { scrollbar-width: thin; scrollbar-color: var(--line) transparent; } *::-webkit-scrollbar { width: 11px; height: 11px; } *::-webkit-scrollbar-track { background: transparent; } *::-webkit-scrollbar-thumb { background-color: var(--line); border-radius: 20px; border: 3px solid var(--bg); background-clip: padding-box; } *::-webkit-scrollbar-thumb:hover { background-color: var(--dim); } /* Inside a modal the track is the panel colour, not the page's, or the 3px border above would show as a thin ring of the wrong shade against it. */ .modal-card *::-webkit-scrollbar-thumb { border-color: var(--panel); } body { margin: 0; padding: 14px 20px 20px; background: var(--bg); color: var(--text); font: 15px/1.55 var(--sans); } /* The landing's two blooms, pinned to the viewport behind everything. They are most of why that page does not read as flat black, and they cost one composited layer that never repaints. Dialled well down from the landing's 0.10/0.07: that page is mostly empty and the light is the subject, while this one is dense and every one of these pixels ends up behind a transcript somebody is reading off a wall. Placed to the sides rather than centred for the same reason — the middle of this page is where the words are. z-index -1 puts it behind every box but still above the canvas, where --bg is painted. Give html a background and this layer disappears under it. */ body::before { content: ""; position: fixed; inset: 0; z-index: -1; pointer-events: none; background: radial-gradient(900px 600px at 78% 12%, color-mix(in srgb, var(--me) 10%, transparent), transparent 70%), radial-gradient(820px 620px at 15% 88%, color-mix(in srgb, var(--them) 8%, transparent), transparent 70%); } /* The landing's editorial side rules, at the width this app's content actually uses (.layout and .topbar are both capped at 1320px). Wide screens only: on a narrow one they would sit on top of the content instead of beside it. */ @media (min-width: 1420px) { body::after { content: ""; position: fixed; inset: 0; margin-inline: auto; width: 1360px; border-inline: 1px solid rgba(255, 255, 255, 0.035); pointer-events: none; z-index: -1; } } a { color: inherit; } .hidden { display: none !important; } .dim { color: var(--dim); font-size: 12px; } .empty { color: var(--dim); } /* ------------------------------------------------------------ label voice */ /* The one treatment every micro-label in the app takes, gathered here rather than restated per component: mono, uppercase, tracked out. It is the landing's `.kicker`/`.sec-head`/`.t-tag` voice, which is a single voice over there doing all three jobs. Listed as one selector list rather than a class, because these labels are emitted by a dozen render functions in six modules and a class would mean touching every one of them — and, worse, would let a new label be written without it. Anything that names a field, a lane, a section or a state is a label; the prose beside it is not. Every name in the list must be a selector that MATCHES something here. It is a list of names with nothing checking them, which is how `.wizard-card` got in without existing; `.settings-heading` and `.t-tag` were the next two — the first a class that had been removed, the second one of the landing's own, which this stylesheet can never see. stylecheck.mjs now walks every selector in this file against the templates, so a fourth cannot be added quietly. Tracked at 0.13em, which is where the landing sits. Mono at the same nominal size is WIDER than sans, so these run about 15% longer than what they replaced — the sidebar is 270px and the mobile bar is tighter still, so the sizes below are a notch down from the sans ones they replace rather than equal to them. */ .field > span, .field-label, .home-charts-heading, .chart-card-head h3, .usage-meter-head, .usage-plan, .section-head, .panel-block > summary > span:first-child, .turn-who { font-family: var(--mono); font-size: 10.5px; font-weight: 600; letter-spacing: 0.13em; text-transform: uppercase; } /* A heading over a block of the page — the landing's `.sec-head`, including the short rule that runs off the end of it. Used for "The last 30 days" and the chart card titles, which were plain bold sans and read as body copy that happened to be heavier. */ .section-head { display: flex; align-items: center; gap: 12px; color: var(--dim); } .section-head::after { content: ""; flex: 1 1 auto; height: 1px; background: var(--line); } /* ------------------------------------------------------------------ header */ .topbar { display: flex; align-items: center; gap: 10px; flex-wrap: wrap; max-width: 1320px; margin: 0 auto 14px; padding-bottom: 12px; border-bottom: 1px solid var(--line); } /* ------------------------------------------------------------------- mark */ /* The wordmark, the same one landing.css draws, ported rather than reinvented. What was here before was the Bamya Leads logo box with the second word changed — bordered lockup, inverted chip, Arial Black — and the landing abandoned that shape deliberately ("no bordered lockup, no inverted chip, nothing to load"). Two marks for one product meant that pressing Sign in on the landing page crossed into what looked like a different application. The rules from `.mark` down to the end of @keyframes mark-split are a VERBATIM copy of landing/landing.css, so the two can be diffed by eye; the app's own additions are gathered at the foot of this section, after the keyframes, rather than folded in. The one edit inside the copy is that the tile's bars take --brand-you/--brand-them instead of --you/--them, because both those names mean something else here — see the palette at the top. Set in the system's own face at its heaviest weight. Which face that is differs per platform and that is the point: it is the same voice as the rest of the page, since --sans is what every other word here is set in. The tracking is pulled in because at this weight the default spacing reads as three words rather than one. */ .mark { font-family: var(--sans); font-weight: 900; font-size: 2.03rem; letter-spacing: -0.045em; color: var(--text); text-decoration: none; white-space: nowrap; line-height: 1; /* How long the mark reads "bamya" before it becomes the product — see the arrival, below. Four animations are keyed off it and they have to agree to the millisecond, since the swap is timed to land inside the first smear of the perpetual one; it is written here, once, and inherited. */ --mark-hold: 2s; } /* The favicon's waveform tile, inline before the wordmark. Sized in em so a smaller mark scales it for free. The tile is pure black with no border, both on request; the bars take the brand pair, which are the same two colours the favicon hard-codes. */ .mark-icon { width: 0.98em; height: 0.98em; margin-right: 0.26em; vertical-align: -0.14em; } /* The letters are white and only the colon is coloured — until it swings, when the same split the landing's section titles carry runs through the words. It is built out of two dots rather than typed. It has to be built: rotating a real ":" would swing it around the middle of its line box, and that is nowhere near the middle of its two dots — they would orbit off-centre. An empty inline-block takes its baseline from its bottom margin edge, so the lower dot sits on the text baseline exactly where a typeset colon does, with no nudging. The side margins are what the dots need when they swing through horizontal: they reach 0.16em past the box either side, and the mark's negative tracking eats 0.045em of whatever is given here. */ .mark-colon { display: inline-block; position: relative; vertical-align: baseline; width: 0.2em; height: 0.52em; margin: 0 0.28em; animation: mark-turn 7s infinite; /* After the shorthand, which would otherwise reset these to `ease` and 0s. The delay is what makes the dots' FIRST sweep the arrival rather than an idle swing two seconds after the reader has already read the word. */ animation-timing-function: var(--mark-spring); animation-delay: var(--mark-hold); } .mark-colon::before, .mark-colon::after { content: ""; position: absolute; left: 0; width: 0.2em; height: 0.2em; border-radius: 50%; } /* Violet over mint, the pair in the order the page reads it — though half a turn later it is the other way up, which is the point. */ .mark-colon::before { top: 0; background: var(--brand-them); } .mark-colon::after { bottom: 0; background: var(--brand-you); } /* Not a constant spin — a swing and a rest, twice a cycle. Each sweep is half a turn, which is what puts the other colour on top, so the beat is: swap, hold, swap back, hold. The swing is a damped spring, sampled — the step response of an actual second-order system at a damping ratio of 0.68, which is what gives it the one clear overshoot to 190 degrees and the small settle back that a bezier cannot express at all. A bezier has two control points and can only ever cross its target once; anything that goes past and comes back the way a thing with weight does needs the curve stated as samples. linear() is exactly the tool for that: a measured curve, written down. It sits on the element rather than in the keyframes, so it is written once and both sweeps take it. The rests override it with `linear` — a segment with no timing function of its own inherits this one, and the rests must not creep. */ .mark-colon { --mark-spring: linear( 0, 0.084, 0.2686, 0.4793, 0.6719, 0.8254, 0.9346, 1.0033, 1.0398, 1.0533, 1.0525, 1.044, 1.0328, 1.0218, 1.0125, 1.0056, 1.0011, 0.9985, 0.9973, 0.9971, 1); } @keyframes mark-turn { 0% { transform: rotate(0deg); } 18% { transform: rotate(180deg); animation-timing-function: linear; } 50% { transform: rotate(180deg); } 68% { transform: rotate(360deg); animation-timing-function: linear; } 100% { transform: rotate(360deg); } } /* The landing titles' split, run through the wordmark on the other axis and keyed to the colon: nothing at all while the dots stand vertical, widest as they pass through horizontal. The two words take it in OPPOSITE directions, so violet ends up on the outside of the mark and mint hugs the colon, and the whole thing pulls apart and closes again with each swing rather than shaking. --abx is registered, which is what makes it interpolate — an unregistered custom property animates in steps, not smoothly. Where @property is missing the var() fallback holds the mark at zero and it simply never splits. */ @property --abx { syntax: ""; inherits: true; initial-value: 0; } .mark-b { text-shadow: calc(var(--abx, 0) * -1em) 0 0 var(--brand-them), calc(var(--abx, 0) * 1em) 0 0 var(--brand-you); } /* "amya" takes the tail's direction rather than one of its own, so the smear runs on unbroken through the swap: what tears apart is what comes back. */ .mark-call, .mark-amya { text-shadow: calc(var(--abx, 0) * 1em) 0 0 var(--brand-them), calc(var(--abx, 0) * -1em) 0 0 var(--brand-you); } /* Same 7s clock as the swing, started in the same style pass, so the two stay in step without either one knowing about the other. The stops are |sin(angle)| SAMPLED off the same spring the dots turn on, not a guessed rise and fall — they are two readings of one simulation, which is the only way the peak can be trusted to land on the horizontal. An evenly-spaced arch would peak around the middle of the sweep, by which time the spring has already carried the dots to 150 degrees and is on its way back. The late ripple is that overshoot: the dots pass 180, swing to 190 and settle, and the words breathe once more, faintly, as they do. linear joins the samples — the shape is in the numbers, so easing between them would bend it twice. */ .mark { animation: mark-split 7s linear infinite; } /* After the shorthand, for the reason the colon's carries one: the arrival is the first beat of this clock, not a separate effect laid over it. Every mark on the page takes it so they stay in step. */ .mark { animation-delay: var(--mark-hold); } @keyframes mark-split { 0%, 50% { --abx: 0; } 1.5%, 51.5% { --abx: 0.053; } /* 36deg */ 2.2%, 52.2% { --abx: 0.082; } /* 65deg */ 3%, 53% { --abx: 0.089; } /* 98deg — dots horizontal, widest */ 3.8%, 53.8% { --abx: 0.071; } /* 128deg */ 4.5%, 54.5% { --abx: 0.047; } /* 149deg */ 6%, 56% { --abx: 0.004; } /* 177deg */ 7.5%, 57.5% { --abx: 0.013; } /* 188deg — overshoot, the second breath */ 9%, 59% { --abx: 0.015; } /* 189deg */ 11%, 61% { --abx: 0.009; } /* 185deg */ 13%, 63% { --abx: 0.003; } /* 182deg */ 15%, 65% { --abx: 0; } 18%, 68%, 100% { --abx: 0; } } /* The mark arrives as the company and becomes the product: "bamya" for two seconds, then the tail tears apart and b:call resolves out of it. The b is the anchor and does not move a pixel through any of it, which is what the absolute positioning here is for. "amya" is taken out of the flow entirely, so .mark-tail is ":call" wide from the first frame and the mark never changes width — nothing in the header reflows, and the b is held in place by the tile in front of it, which never moves either. Everything that changes is to the b's right. Animating a width instead would have shifted whatever sits beside it, which in the topbar is the conversation's title. The swap is still keyed to the perpetual animation, held back by --mark-hold: the dots turn in on their spring, the whole mark smears on the sampled arch it always smears on, and the identity changes at 0.089em — the peak of that arch, where there is least to see. What the two words do on top of that is their own, and much louder: the arch is an ambient breath at a twentieth of an em and this is a tear, so it is stated where it happens rather than by pushing the shared curve somewhere it must not go for the other 6.8 seconds of every cycle. It is a chained filter rather than a text-shadow, and that is the only mechanism that could carry it: the colon is two coloured BOXES, not glyphs, so a text-shadow reaches "call" and leaves the dots undistorted. Chained drop-shadows also compound — each one shadows the result of the last, so two functions draw four ghosts and the smear reads as a streak rather than two copies. It travels LEFT, into the b, which is the one thing on the mark that is not going anywhere. Both ends are filter: none, so nothing survives the arrival. A filter left standing at zero offsets is still a filter: it holds a stacking context and a rasterised layer around the wordmark for the life of the page, under a text-shadow that is animating on every one of those 7s cycles. Base state is the FINAL form: amya at zero, tail at one. A browser that runs no animation at all gets b:call from the first frame rather than a wordmark stranded on the wrong word, and so does a reduced-motion visitor — see the block below, where the whole thing is taken off. It has to be taken off by name: the arrival is a HOLD, and turning off `.mark` and `.mark-colon` does not reach the two elements that carry it. The box that POSITIONS the outgoing word cannot be the box that fades the incoming one, which is why there are two. opacity applies to a whole subtree, not to one element's own painting, so a fading .mark-tail took the "amya" nested inside it along — computed opacity 1, rendered nothing, the only frame where both had to be legible at once. .mark-tail is the box and never fades; .mark-form is the settled wordmark and is the thing that arrives. .mark-form needs no layout of its own — an inline wrapper leaves the colon and the word laid out exactly as they were. */ .mark-tail { position: relative; display: inline-block; } .mark-form { animation: mark-form-in 0.42s ease-out backwards; /* Into the back of the tear, not after it: the form is already pulling into focus while the word that was there is still coming apart, so the two overlap and it is never a cut between two still words. */ animation-delay: calc(var(--mark-hold) + 0.16s); } .mark-amya { position: absolute; left: 0; top: 0; opacity: 0; /* Toward the b: what is left of the word folds into the letter that stays. */ transform-origin: left center; animation: mark-amya-out 0.21s ease-in backwards; animation-delay: var(--mark-hold); } /* 0.21s is 3% of the 7s clock — exactly where mark-split peaks, so the last of the word is spent under the widest breath of the shared arch. ease-in holds it legible and then drops it, rather than fading from the first millisecond. The streak is widest at 55%, NOT at the end, and that is the whole trick of an exit: a filter is painted at the element's own opacity, so a smear stated on the last keyframe is a smear drawn at opacity zero. It has to peak while there is still something to smear, and what the final keyframe carries is only where the ghosts were heading. */ @keyframes mark-amya-out { 0% { opacity: 1; transform: scaleX(1); filter: none; } 55% { opacity: 0.5; transform: scaleX(0.86); filter: drop-shadow(-0.14em 0 0.02em var(--brand-them)) drop-shadow(-0.29em 0 0.06em var(--brand-you)); } 100% { opacity: 0; transform: scaleX(0.7); filter: drop-shadow(-0.22em 0 0.05em var(--brand-them)) drop-shadow(-0.46em 0 0.11em var(--brand-you)); } } /* The same streak read backwards: the form arrives already torn, trailing the pair back toward the b, and pulls into focus. It starts at opacity 0 because `backwards` fill paints the first keyframe for the whole two-second hold, and a ghost of "call" under "bamya" is the one thing this must never show. */ @keyframes mark-form-in { 0% { opacity: 0; filter: drop-shadow(-0.24em 0 0.05em var(--brand-them)) drop-shadow(-0.48em 0 0.12em var(--brand-you)); } 30% { opacity: 0.7; filter: drop-shadow(-0.17em 0 0.04em var(--brand-them)) drop-shadow(-0.34em 0 0.08em var(--brand-you)); } 65% { opacity: 0.94; filter: drop-shadow(-0.07em 0 0.02em var(--brand-them)) drop-shadow(-0.14em 0 0.03em var(--brand-you)); } 100% { opacity: 1; filter: none; } } .mark.small { font-size: 1.58rem; } /* ---- the mark while a capture is running ---- */ /* At rest the colon is a signature: a spring that swings, holds, swings back and holds, on a 7s clock. Inside a conversation it stops being a signature and becomes an instrument, with three states and nothing in between: not started both dots white. There are no lanes yet, and the brand pair would be claiming "your side" and "theirs" about a call that is not being recorded. White is the app's own "nothing here means anything yet", and it keeps every hue free to mean something once one does. laptop whoever is speaking turns to the top, and beams run from them down to the other dot as hard as they are talking. phone one microphone carries both voices, so there is no top to take: both dots go amber and beam at each other together. Only inside a conversation. On the home screen and on the sign-in card the mark is a logo, the dots keep the brand pair, and none of this applies — `mark-idle` is what says which, and renderMarkPulse writes it. `mark-split` goes off with it. That animation is keyed to the same 7s clock as the swing — its stops are sampled off that spring — so against an instrument that is answering the room the words would pull apart at moments that no longer mean anything. */ /* `capturing` and `mark-room`, NOT `live` and `room`. This stylesheet has one flat class namespace and `.live` was already in it — `.live { display: flex; flex-direction: column }` is the capture column beside the transcript. Putting it on the wordmark turned the mark into a vertical flex container: "b", the dots and "call" each on their own line, 39px wide instead of 105. Nothing errors, nothing fails a check, and the header just quietly falls apart the moment a capture starts. Check a class name against this file before adding one to an element that already has others. This stops `mark-split` and nothing else, and deliberately does not reach the arrival: those animations are on .mark-amya and .mark-form. A capture can only start after a click, but nothing says the click cannot land inside the first two seconds of a page load — Quick notetaker is one press from the home screen — and the arrival has to finish wherever it is interrupted, or the wordmark is stranded reading "bamya" for the rest of the call. */ .mark.capturing { animation: none; } /* Both dots white, and nothing moving between them. A conversation is open and nothing is being recorded, so there is no "your side" and no "theirs" to report — the brand pair here would be an accent that means nothing, which is the one thing this palette does not allow. The colon still swings: that is the signature, and the signature is not a state. */ .mark.mark-idle .mark-colon::before, .mark.mark-idle .mark-colon::after { background: var(--text); } /* --lane-them and --lane-me are what each lane is WEARING right now, asked once here and answered once by phone mode below. Three things read them — the two dots and the two beams — and before they existed the phone-mode override had to restate a background and two box-shadow recipes to change one colour. `mark-room` sets both to amber and everything follows. */ .mark.capturing .mark-colon { --lane-them: var(--them); --lane-me: var(--me); /* The colon opens to make room for what runs through it. At rest the gap between the dots is 0.12em — about three pixels in the header — and three pixels is a flicker, not a beam. This grows the box UPWARD only: an empty inline-block takes its baseline from its bottom margin edge, so the lower dot stays exactly on the text baseline where a typeset colon sits and the upper one lifts away from it. 0.78em, and the ceiling is real: go past the line box's own ascent and the mark gets taller, which in the topbar moves a row that has a live transcript under it. Measured at both sizes — the mark's box is unchanged at 0.78 and grows at 0.85. */ height: 0.78em; /* The turn, and the whole of what makes the beams legible: the box carries its own background round with it, so a beam that always travels from the ::before end to the ::after end is always travelling AWAY from whoever the turn has just put on top. One number orients the dots and aims both beams. No transition — `--turn` arrives already eased, sixty times a second, from an envelope in renderMarkPulse that is deliberately slower than the dots'. A transition on top of that smears the release rather than smoothing it, which is the same reason the swell below does not have one either. */ transform: rotate(calc(var(--turn, 0) * 180deg)); /* Two streams, one from each dot, each as bright as its own lane is loud — so in a laptop capture only the speaker's runs, and in phone mode, where both lanes carry the same microphone, both run and the dots beam at each other. They are drawn from --pulse-them and --pulse-me, the same two numbers the dots swell on, so a beam and the dot it leaves can never disagree about how loud a lane is. There is no third level to write. Painted on the box, under the dots: the dots are children, so they cover the ends of the channel and only the gap between them shows. */ background-image: linear-gradient(to bottom, color-mix(in srgb, var(--lane-them) calc(var(--pulse-them, 0) * 100%), transparent) 0 0.07em, transparent 0.07em 0.15em), linear-gradient(to bottom, color-mix(in srgb, var(--lane-me) calc(var(--pulse-me, 0) * 100%), transparent) 0 0.07em, transparent 0.07em 0.15em); background-size: 100% 0.15em; background-repeat: repeat-y; animation: mark-beam 0.3s linear infinite; /* .mark-colon sets the spring by name AND a two-second delay after its own shorthand — the arrival's — and both would otherwise still apply here. The shorthand above already clears the delay; this is the timing function. */ animation-timing-function: linear; } /* One tile down and one tile up, so both loops are seamless and the two streams run against each other. The tile is the unit: travelling exactly one period means the frame after the last is identical to the first. */ @keyframes mark-beam { to { background-position: 0 0.15em, 0 -0.15em; } } /* --pulse-me and --pulse-them are written on the mark each frame by renderMarkPulse, 0 to 1 per lane, already smoothed. They are read here rather than the dots being styled from JS because the dots are ::before/::after and have no node to write to — which is also why they are worth keeping as pseudo-elements: one element, two indicators, no extra markup in the header. No `transition`. The value is replaced sixty times a second by an envelope that already has an attack and a release, and a transition on top of that would smear the release into a lag rather than smoothing anything. The lane tokens, not the brand pair. While live these dots are reporting which side is speaking, so they say what the meters and the turn labels say; at rest they go back to being --brand-you/--brand-them. The two pairs hold the same colours today, which is exactly why the distinction is worth writing down rather than discovering later. */ .mark.capturing .mark-colon::before { background: var(--lane-them); transform: scale(calc(1 + var(--pulse-them, 0) * 0.45)); box-shadow: 0 0 0 calc(var(--pulse-them, 0) * 0.07em) color-mix(in srgb, var(--lane-them) 40%, transparent); } .mark.capturing .mark-colon::after { background: var(--lane-me); transform: scale(calc(1 + var(--pulse-me, 0) * 0.45)); box-shadow: 0 0 0 calc(var(--pulse-me, 0) * 0.07em) color-mix(in srgb, var(--lane-me) 40%, transparent); } /* Phone mode: one microphone carries both voices, so there is no "each half" to report and nothing for the turn to point at. Both dots take the room lane's amber, both answer to the same level, and both beams run — which is the honest picture of a capture that cannot tell the two sides apart in the first place. renderMarkPulse writes the room lane's envelope into both properties and settles the turn level, so the rules above still do all the moving and only these two colours change. */ .mark.capturing.mark-room .mark-colon { --lane-them: var(--room); --lane-me: var(--room); } /* The colon opens and closes rather than jumping, at both ends of a call. This is the one thing about the mark that IS a transition: height changes once, when a class does, where every other value here is replaced sixty times a second by an envelope that already has its own attack and release. It cannot live in the rule above — that block is the landing's verbatim copy, and the landing's colon never opens because nothing there is being recorded. */ .mark-colon { transition: height 0.28s ease; } @media (prefers-reduced-motion: reduce) { .mark-colon { transition: none; } } /* ---- the app's own, below here; everything above is the landing's copy ---- */ /* The mark swings here too, the same as on the landing and on the gate. It was held still in the header for a while on the theory that a logo moving every seven seconds beside a live transcript is a distraction — the answer is that the mark is the product's signature and it should behave the same wherever it appears. `prefers-reduced-motion` below is what turns it off for anybody who has asked for that, which is the right place for the question to be settled. The header's mark also sits in a flex row that would otherwise stretch it. */ .topbar .mark { flex: 0 0 auto; } /* Nothing in this app had a reduced-motion answer before the mark arrived, and the mark is the first thing here that moves without being asked to. Scoped to it rather than the blanket `*` rule the landing uses: the spinners and the capture sweep elsewhere in this file are feedback about something actually happening, and stopping those says the app has hung. */ @media (prefers-reduced-motion: reduce) { .mark, .mark-colon, /* Both halves of the arrival, by name. Turning off `.mark` and `.mark-colon` stops the swing and the split and does not reach these two at all, and the failure is the loud one: the hold is a DELAY, so what would survive is the wordmark sitting on "bamya" and then cutting to b:call. Base state is the settled form, so taking the name off is the whole fix. */ .mark-amya, .mark-form, /* Including the capture spin. renderMarkPulse asks the same question before it writes a level, so the dots hold still too — a scale driven from JS is not an animation and this block could not reach it. What survives is the part that carries the information rather than the motion: the dots still take their lanes' colours, and phone mode still turns them both amber. */ .mark.capturing .mark-colon { animation: none; } } /* There is a SECOND reduced-motion block, near the foot of this file, for the narrow header's capture halo. It has to be down there rather than in here: the rule it turns off lives inside a `max-width` query further down, and an equally specific selector written up here would lose on file order. */ /* The sign-in card is a flex column, so the

carrying the mark would stretch its box the full width. Shrink it back to the mark. */ .gate-card .mark { align-self: flex-start; } .title-input { flex: 1; min-width: 0; font-size: 21px; font-weight: 600; background: transparent; border: 1px solid transparent; border-radius: 7px; padding: 5px 8px; color: var(--text); } /* The name as a heading. Same size and weight the input had, so moving it into the dialog changed where you edit it and not how the page reads. */ .title-text { flex: 1; min-width: 0; font-size: 21px; font-weight: 600; padding: 5px 8px; color: var(--text); overflow: hidden; text-overflow: ellipsis; white-space: nowrap; } /* The name field is an ordinary bordered box rather than the borderless heading it once was. It has now been a dialog, a sidebar panel and a dialog again — `#session-modal`, `#session-block`, `#convsettings-modal` — and the rule has been the same one every time, which is the tell that it belongs to the FIELD rather than to whatever is holding it. */ #convsettings-modal .title-input { border-color: var(--line); } .title-input:hover:not(:disabled) { border-color: var(--line); } .title-input:focus { border-color: var(--me); outline: none; background: var(--sunken); } .title-input:disabled { opacity: 1; color: var(--faint); } .banner { display: flex; align-items: flex-start; gap: 12px; border-radius: 9px; padding: 11px 14px; margin: 0 auto 14px; max-width: 1320px; font-size: 13.5px; /* Red by default, amber for a refusal or a loss, --me when it is genuinely only telling you something. See .banner-info and .banner-warn below: the kind is the token and nothing else changes. */ --tint: var(--bad); border: 1px solid var(--tint); background: color-mix(in srgb, var(--tint) 12%, transparent); } .banner-text { flex: 1; min-width: 0; } .banner-close { flex: 0 0 auto; background: none; border: 0; color: inherit; opacity: 0.6; font-size: 18px; line-height: 1; padding: 0 2px; cursor: pointer; } .banner-close:hover { opacity: 1; } .banner-info { --tint: var(--me); } /* The middle tone: a refusal or a cancellation, which is neither a fault nor reassuring. `--me` used to carry everything that was not a fault, which put a cancelled capture in the same colour as "Template saved" — and in the colour that means YOUR LANE everywhere else on the page. Which message gets which tone is decided in `showBanner`, and the taxonomy is written down there rather than twice. */ .banner-warn { --tint: var(--warn); } /* Parked into the header alongside `#echo-gate`, by the same code and for the same reason: an alert about an echo happening RIGHT NOW must survive being scrolled past, which a page-level banner above a scrolling transcript cannot promise once the header goes sticky — the short captions window — or the page runs past one screen — narrow. `margin: 0 auto 14px` and `max-width: 1320px` above were written for a banner centred under the header as a block of its own; as a flex item in the header row the auto margin does nothing useful and the cap is moot, so both are reset. */ .compact-echo-banner { flex: 1 0 100%; max-width: none; margin: 6px 0 0; } /* ------------------------------------------------------------------ layout */ .layout { display: grid; grid-template-columns: 270px minmax(0, 1fr); gap: 24px; align-items: start; max-width: 1320px; margin-inline: auto; } /* Collapsed, on a conversation: the history takes almost the whole page, but a thin rail stays so the toggle that reopens it has somewhere to live. The toggle sits INSIDE .sidebar now (the usual retract/expand icon, attached to the thing it controls), so the sidebar itself cannot go to display:none the way it used to — that would take the only way back to expanding it with it. #controls is what actually holds everything else, so hiding that alone leaves exactly the rail. */ .layout.sidebar-hidden { grid-template-columns: 34px minmax(0, 1fr); } .layout.sidebar-hidden .sidebar #controls { display: none; } /* The home screen, where there is no conversation to show controls for at all — not collapsed, not a thin rail, no sidebar. Written after sidebar-hidden above so it wins the cascade on the rare frame both classes are present (route() also takes care not to combine them). */ .layout.no-sidebar { grid-template-columns: minmax(0, 1fr); } .layout.no-sidebar .sidebar { display: none; } .icon-toggle { flex: 0 0 auto; padding: 6px 10px; font-size: 14px; line-height: 1; color: var(--dim); } .icon-toggle.on { color: var(--me); border-color: var(--me); } .sidebar { position: sticky; top: 14px; max-height: calc(100vh - 28px); overflow-y: auto; font-size: 13px; } /* The retract/expand control, living on the sidebar itself rather than in the header. Full width of whatever the sidebar currently is, so it reads as a bar across the top when expanded and fills the 34px rail when collapsed — the one thing still visible there. */ .sidebar-toggle { display: flex; align-items: center; justify-content: center; width: 100%; margin-bottom: 8px; padding: 6px 0; } .sidebar-toggle svg { width: 17px; height: 17px; } /* The "reversed" icon for reopening — the same glyph mirrored, rather than a second one drawn by hand. .on is applied exactly when the sidebar is collapsed (see renderSidebar in app.js), which is exactly when the chevron should point the other way. */ .sidebar-toggle.on svg { transform: scaleX(-1); } .side-block { background: var(--panel); border: 1px solid var(--line); border-radius: 10px; padding: 12px; } /* ------------------------------------------------------------------ inputs */ /* Every text-like input, listed by type because a bare `input` would take the checkboxes and the file pickers with it. `email` and `password` are here because they exist — they are the two fields on the sign-in page, they were the two this list forgot, and a type nothing styles falls all the way back to the browser's own control: a white box with dark text, on a dark page, directly under the wordmark. Nothing else in the app uses either type, which is why it survived so long. `url` and `datetime-local` are here for the second time it happened, in the Conversation settings dialog: three fields in a row rendering as bare browser controls, square and outlined in white, in a dialog where everything around them was a soft dark box. **Adding an input of a type not on this list means adding it to this list** — that is the whole rule, and this comment is now the second time it has been paid for. */ input[type="text"], input[type="search"], input[type="email"], input[type="password"], input[type="number"], input[type="url"], input[type="datetime-local"], input[type="date"], input[type="time"], textarea, select { background: var(--sunken); border: 1px solid var(--line); border-radius: 6px; color: var(--text); padding: 7px 9px; font: inherit; width: 100%; } textarea { resize: vertical; line-height: 1.45; font-size: 12.5px; } select { cursor: pointer; } /* The parts of a native control the stylesheet cannot reach: the date picker's own popup, its calendar glyph, the scrollbars. `color-scheme` is the one property that tells the browser which way round this page is, and without it Chrome draws that glyph as dark-on-dark and opens a white calendar over a black dialog. It belongs on the input rather than on `:root` only because nothing else here has a native widget to render — but it is cheap and correct on both, and the two selectors below are what the date field needs. `opacity` on the indicator because `color-scheme` alone leaves it at the browser's own contrast, which is louder than every other glyph in the app. */ input[type="datetime-local"], input[type="date"], input[type="time"] { color-scheme: dark; } input[type="datetime-local"]::-webkit-calendar-picker-indicator, input[type="date"]::-webkit-calendar-picker-indicator, input[type="time"]::-webkit-calendar-picker-indicator { opacity: 0.55; cursor: pointer; } input[type="datetime-local"]::-webkit-calendar-picker-indicator:hover, input[type="date"]::-webkit-calendar-picker-indicator:hover, input[type="time"]::-webkit-calendar-picker-indicator:hover { opacity: 1; } input:disabled { opacity: 0.55; } /* A pill, mono, uppercase and tracked — the landing's `.cta`, at the size a working tool can carry. It was a 6px-radius sans rectangle, which is the other half of why the app read as an admin panel: the buttons and the body copy were the same voice at the same weight, so nothing on the page looked like a control until you moused it. `text-transform` here rather than in the markup, so the labels stay written in sentence case in the templates and in the render functions — several are built from a mode's declared strings, which are prose and must not be shouted at their source. */ /* GHOST is the default and SOLID WHITE is the emphasis, exactly as on the landing — `.cta.ghost` is a hairline round transparency and `.cta.solid` is --text filled with --bg ink. Neither is an accent colour. That is the rule this app had backwards. An accent means something here: which lane spoke, whether a capture is running, whether the checklist item is covered. Spending teal on "the button that makes a thing" and green on "+ New" left the page shouting in four colours at once and, worse, made the colours that carry a meaning indistinguishable from the ones that carry none. */ /* `.header-button-link` is named here because it exists for something that is NOT a