/* ───────────────────────────────────────────────────────────── base.css — the foundation. This file is NOT going away. Tailwind v4 keeps tokens, base rules and keyframes in CSS; only component styling becomes utilities. So the migration's target was "legacy.css reaches zero lines", not "no CSS at all" — legacy.css is there now, and this file is the CSS that was never going anywhere. What lives here stays here: · the token substrate (:root + html[data-theme="light"]) that styles/tailwind.css aliases into Tailwind's namespace via @theme inline — delete these and every utility resolves to nothing; · the hand-rolled preflight. Tailwind's own preflight is deliberately NOT imported: this stylesheet is written against browser defaults, so the UA button/form neutralisation below is the app's reset; · the scroll model, overscroll containment, and the chrome-isn't-selectable / content-is policy; · platform chrome — Electron drag regions, Window Controls Overlay and env(titlebar-area-*), PWA standalone; · global policies: reduced motion, reduced transparency, and the @supports progressive enhancement. Concatenated ahead of legacy.css by src/server/frontend-build.ts. ───────────────────────────────────────────────────────────── */ /* ───────────────────────────────────────────────────────────── Open Session Devin-inspired dark theme ───────────────────────────────────────────────────────────── */ :root { /* Conductor-style dark: lifted neutral charcoal rather than near-black — the deepest surface sits ~#1b, so code blocks/terminals (which stay near-black) read as inset wells instead of blending in. */ /* Elevation ramp. Four tiers, each one step further from the page than the last, and — this is the part that has to hold — stepping the SAME direction in both themes: lighter than --bg in dark, darker than --bg in light. A surface's tier is what makes it read as lifted, so a token may not swap tiers between themes or the same stack reads raised in one and inset in the other. L0 --bg the page L1 --bg-raised / --sidebar-bg / --topbar-bg chrome behind the content L2 --bg-panel cards, bubbles, tool rows L3 --control-surface controls/popups on top --bg-hover/--bg-active continue past L3 (see below), so the whole chain is monotonic: bg < raised < panel < control < hover < active in dark, and the same order descending in light. */ --bg: #1c1c1c; --bg-raised: #222222; /* The sidebar and the chrome band around it. It has its own token because light puts it a hair off the page rather than a full L1 step down, which is what the Codex sidebar does and what the app copies. In dark it is L1 like every other piece of chrome, so the two stay the same surface. */ --sidebar-bg: var(--bg-raised); /* Desktop sidebar material: a translucent charcoal wash over the native window/backdrop — the sidebar surface at partial opacity. */ --sidebar-material: rgba(34, 34, 34, 0.66); --sidebar-material-sheen: rgba(255, 255, 255, 0.035); /* The cast on the content column's left edge, which gives the chrome beside it a little depth. Dark has none, for the reason --auth-card-edge drops its cast below: black ink on a near-black column lands as a smudge rather than a lift. It measured one grey step over 7px, which is not depth, and the seam is already saying where the sidebar ends. Light keeps it: see the light block. */ --content-edge-shadow: none; /* Level with the sidebar in both themes: a top bar that sits between the page and the sidebar reads as a third surface across one row of chrome. */ --topbar-bg: var(--sidebar-bg); /* Clean control chips (header Share, PR chip), the composer, popups: the top of the ramp, so they read as lifted off whatever they sit on, with a whisper of shadow. Codex-style. */ --control-surface: #292929; /* The plate under a control you *press*. In dark it is the control surface above — lighter than the page, so the fill is what lifts it. Light is the composer's case at chip scale, so it takes the composer's answer; see the light block. */ --button-surface: var(--control-surface); /* Phone navigation controls float over live content, the way an iOS toolbar item does: a translucent plate that takes its colour from whatever passes underneath it, rather than a paper sticker laid on top. The fill used to be `--bg`, the same colour as the page it floats over, so nothing but the cast shadow said the control was there at all, and the bar read as stickers on a page instead of glass over one. Dark mode keeps a defined edge, because even thinned the fill lands close to the page; light mode takes the native toolbar treatment below, where an even cast around the control replaces that edge. The inset line leading each shadow is the specular top edge every glass control on iOS carries. It is what gives the plate a thickness, and it is the one part of the look a blur alone cannot produce. */ --mobile-header-control-border: var(--border); --mobile-header-control-surface: color-mix(in srgb, var(--bg) 68%, transparent); --mobile-header-control-blur: blur(20px) saturate(1.7); /* The docked tab strip follows iOS: the selected tab is the bright plate and the rest sit a step under it. Both are OPAQUE on purpose. iOS paints its pills over a thick material, so the transcript passing behind them is a change in tone, never legible text; a thinned fill here put running code through the tab labels. The blur stays for the pill's edge, not to see through it. */ --mobile-tab-surface-selected: var(--bg-hover); --mobile-tab-surface: var(--bg-raised); --mobile-header-control-shadow: inset 0 1px 0 rgba(255, 255, 255, 0.07), 0 1px 3px -1px rgba(0, 0, 0, 0.06), 0 4px 10px -4px rgba(0, 0, 0, 0.09); /* The segmented control's knob: the one plate that sits in a WELL rather than on the page, so it gets its own pair of tokens. It is deliberately ABOVE the ramp's last step (--bg-active #353535). A cast shadow on a near-black track does nothing, so in dark the fill is the only thing that can say "raised" — and the knob's own track is already --bg-hover, so anything at or below that tier reads as a hole cut in the group rather than a plate lifted out of it. That is what --control-surface (#292929, BELOW the track) looked like. The value is iOS's own: its selected segment sits around #636366 on a #2C2C2E track, which is a bigger step than an app this flat would arrive at on its own, and it is the step that actually reads as pressed. The edge is a hair LIGHTER than the fill, not darker — a dark line around a light plate is a drawn outline, while a light one reads as the top of the plate catching the light. Light mode wants neither; see the light block. */ --segmented-knob-surface: #5a5a5c; --segmented-knob-edge: #6a6a6c; /* Floating popups — hover cards, menus, context menus. Same L3 tier as the controls above, and in dark that is all it needs: lighter than the page, so the fill alone reads as lifted and the hairline is just an edge. Light is the case that needs its own pair, for the reason the composer states below — see the light block. */ --popup-surface: var(--control-surface); --popup-ring: var(--smooth-ring-color); /* A modal's edge, which is not a menu's. A menu floats over the page it came from, so the fill's step above --bg is what says it is in front. A dialog floats over a scrim that has already darkened everything around it: the fill's step shrinks to nothing, the cast shadow falls on ink it cannot darken further, and the shared hairline — 14% ink, painted at half strength by the ring utility — landed FAINTER than the dividers inside the dialog's own rows. A box whose interior lines are more definite than its outline reads as unfinished. 26% is the value that puts the outline level with those dividers (--border) once the utility has halved it. Light needs the firmer line for the opposite reason, the one --popup-surface gives below: a white box on white. */ --dialog-ring: color-mix(in srgb, var(--text) 26%, var(--bg)); /* Glass. The same fill, thinned so the page shows through, over a blur heavy enough that what shows through is colour and shape rather than somebody else's sentence — a popup you can read a row title through is not translucent, it is broken. Written once here rather than per theme: --popup-surface re-resolves under html[data-theme], so the mix follows. Both are overridden back to opaque at the bottom of this block's file for browsers without backdrop-filter and for reduced transparency. */ --popup-glass: color-mix(in srgb, var(--popup-surface) 72%, transparent); --popup-blur: blur(20px) saturate(1.8); /* The command palette's own glass. Denser than a menu's for two reasons: it is a big empty box rather than a strip of rows — the same reason --composer-surface and --popup-surface go white in light instead of following the ramp down — and it is the one popup with a dimming backdrop underneath, which composites THROUGH the fill and drags a 72% mix down to a grey slab. At 88% the page's colour and shape still read through it and the surface stays paper. */ --palette-glass: color-mix(in srgb, var(--popup-surface) 88%, transparent); /* The composer's own fill + edge. In dark it IS --control-surface: lighter than the page, so the box already reads as lifted. Light needs its own pair — see the light block. */ --composer-surface: var(--control-surface); --composer-border: var(--border); --composer-shadow: 0 2px 6px rgba(0, 0, 0, 0.16), 0 14px 36px rgba(0, 0, 0, 0.2); /* The composer box's corner. It lives here, not on .composer, because the expand/collapse morph is driven from Composer.tsx — Motion writes the radius inline, so it has to be able to READ the resting value rather than carry a second copy of it. Same corner as the surfaces physically attached to the composer (the queue flap, the agents flap), which read this token rather than a `rounded-*` step of their own so the seam stays flush. The composer is deliberately the roundest surface on a session page — it is the one thing you touch — so it sits a step above the panels around it instead of matching them. */ --composer-radius: calc(28px * var(--rf)); /* The sign-in card's edge. On the dark marketing artwork, a cast has nothing to fall on: black ink on a near-black picture becomes a grey smudge rather than a lift. A hairline holds the glass shape instead, and nothing darkens the backdrop. Light keeps the cast: see the light block. */ --auth-card-edge: 0 0 0 1px var(--smooth-ring-color); --bg-panel: #262626; --bg-hover: #2e2e2e; --bg-active: #353535; /* What a mermaid diagram is drawn on. A token rather than a value in the `.md-mermaid` rule because the media lightbox paints the same surface under a diagram it has opened: the chart's ink is themed to the page, so on the viewer's near-black scrim a light-theme one would be unreadable. */ --diagram-canvas: #0c0c10; /* The session's right-hand panel: the fill of the column itself, and the plate its sections sit on. The column takes a hair off the page rather than a whole tier, the argument --sidebar-bg already makes at column scale: what separates it is the seam, so the fill only has to be a shade off the page. The plate takes a smaller step than --bg-panel because five or six of them stack down one narrow column, and at the page's full plate strength the panel reads as a pile of blocks rather than a list of sections. PANEL_SHELL paints the first and re-points --bg-panel at the second, so every plate, chip and pill inside the column steps together. */ --panel-surface: #1f1f1f; --panel-plate: #242424; /* The plate a settings group sits on. In dark it is L1, like any other card: six units up from the page is already a whisper, and taking any less off would leave a group with no edge at all. Light is the case this token exists for. See the light block. */ --settings-plate: var(--bg-raised); /* Interaction washes. --bg-hover/--bg-active above are absolute *surfaces*: used as a hover they land as a ~9% step on --bg but barely 2% on --bg-panel, so the same token gives a heavy wash on the composer and an invisible one inside panels and popups. These are the *effect* — a translucent ink that composites to the same strength on whatever surface it sits on. Use --hover for hover/focus, --hover-strong for pressed and selected. The surface tokens stay for real surfaces (segmented-control tracks, chips) and for the scroll-fade box-shadow masks, which need an opaque colour to hide what slides under them. */ --hover: rgba(255, 255, 255, 0.07); --hover-strong: rgba(255, 255, 255, 0.11); /* A SELECTED row: the session being viewed, the active tool, the open PR. Quieter than the pressed wash on purpose. A press is momentary and has to be felt under the pointer, while a selection persists and only has to be findable, and it never carries the row alone: a selected row also takes full-strength ink in a title its neighbours write dim. At pressed strength a column of open rows read as grey plates dropped on the list. The sidebar's hover is a layer over this, so pointing at the selected row still lifts it. */ --selected: rgba(255, 255, 255, 0.08); /* Opaque equivalents of the sidebar row's translucent washes. Avatar rings cannot inherit the pixels behind them, so these reproduce the exact sRGB composites for resting selection, hover, and both layers together. */ --sidebar-row-hover: color-mix(in srgb, #ffffff 7%, var(--sidebar-bg)); --sidebar-row-selected: color-mix(in srgb, #ffffff 8%, var(--sidebar-bg)); --sidebar-row-selected-hover: color-mix( in srgb, #ffffff 14.44%, var(--sidebar-bg) ); /* The one interaction fill that is NOT a wash: an action chip floating over a row (the pin/archive cluster). A chip is a LID, not a tint — what is behind it is the row it covers, so a translucent one shows that row's own wash, and whatever the row still has under that spot, through the glyph. So it is opaque, and the background bleeds into its COLOUR instead of through its alpha: the hover wash pre-composited onto the sidebar's own surface, which is the same value the wash resolves to there. One surface it cannot follow is the vibrancy sidebar — see the material block for what was measured there and why it still takes this. */ --row-chip: color-mix(in srgb, #ffffff 11%, var(--sidebar-bg)); --row-chip-hover: color-mix(in srgb, #ffffff 7%, var(--row-chip)); --border: #333333; --border-strong: #464646; /* The seams of the app chrome: the hairline under a top bar, the sidebar edge, the right panel edge, a pane header's underline. These divide two surfaces that are already different, so the line only has to mark where one ends. At full --border it draws a frame around the whole top of the window instead, and three of them meeting in one corner is the loudest thing on a quiet screen. A wash of the same ink says the same thing more quietly. Keep --border itself for the edge of a control, where the line IS the shape. */ --divider: color-mix(in srgb, var(--border) 55%, transparent); /* A block's own outline, where the fill under it already says where the block is and the line only has to close its shape: the settings plate. Lighter than --divider, which still has to read as a separation between two surfaces. Anything that has to be seen as a rule takes --divider or --border; this one is meant to be felt and not looked at. */ --divider-soft: color-mix(in srgb, var(--border) 34%, transparent); /* The scrollbar thumb, on the platforms that draw a permanent one (see the scrollbar block further down). Translucent rather than a picked grey: the scrollers sit on four different fills, and an alpha keeps the thumb in the same relationship to each of them. */ --scrollbar-thumb: rgba(255, 255, 255, 0.13); --text: #e9e9e9; --text-dim: #a2a2a2; --text-faint: #767676; /* The no-JS fallback brand mark: ink on the page — near-white on dark, near-black on light. The selected accent overrides it below. It is a FILL colour (the send disc, an active tab underline, a checked switch) and a full-strength EMPHASIS colour (an active icon against a dim one). It is deliberately NOT a link colour: at body contrast, words wearing it are indistinguishable from the prose around them, so inline affordances take --link. Red goes back to meaning only "this failed". var(--text) rather than a literal, so it tracks the ink ramp. This is not a new idea in this file — the `ink` Button variant, the light-theme Create button and .pr-bar-btn-solid already paint ink-on-paper, each with its own comment explaining that the red accent shouted. */ --accent: var(--text); /* What sits ON an --accent fill: its inverse. Was a hardcoded #fff at every call site, which is white-on-white the moment the accent becomes ink. */ --on-accent: var(--bg); /* Hover for a filled --accent control. While the accent is ink, the only direction with anywhere to go is toward the page: brightness-110 on a near-white or near-black plate is invisible. */ --accent-hover: color-mix(in srgb, var(--accent) 86%, var(--bg)); /* Achromatic wash for a surface that is TINTED by the accent: a badge, an "on" toggle, a focus ring. Pitched above --hover-strong (0.11) so it reads as a tint of its own and not as a heavier hover. Once the accent went ink this and the interaction washes became the same ink, so they were told apart only by opacity; the split is by meaning instead. The three achromatic ones each say a different thing: --hover is the pointer, --hover-strong the press, --selected what is open. "Needs you" is deliberately in none of them — it takes no fill at all, so it can sit on a selected row without either state losing. Don't spell a hover with this token — that is what the collision was. */ --accent-soft: rgba(255, 255, 255, 0.16); /* Inline affordances: a link in an agent answer, a PR title that opens. The accent cannot do this job once it is ink, and red never should have. */ --link: var(--blue); --tooltip-bg: #303030; --tooltip-fg: #eeeeee; --tooltip-ring: rgba(255, 255, 255, 0.1); /* Status green and red. Both are held at the lightness they had and taken out to the chroma their hue can carry, which is what separates them from the greyed GitHub-era pair they started as. Lightness is the channel that is spoken for: green is the fill under CheckStatusIcon's white knockout and red is the fill under the sidebar's white attention count, so moving it moves a contrast ratio. Chroma costs nothing there. */ --green: #00bc52; --green-soft: rgba(0, 188, 82, 0.14); --yellow: #d29922; /* The wash behind a --yellow label: the "Running" pill. In-progress work is yellow throughout — the pulsing run indicators and the "In progress" lane — because green here means a finished, reviewable result. */ --yellow-soft: rgba(210, 153, 34, 0.14); /* Yellow as a SURFACE rather than as ink. `--yellow` is picked to read as text, so in light mode it is a dark ochre (#9a6700) — mixed down to the 5-15% of a tint it loses its hue and lands as warm grey, which is what made the note surfaces look washed out. This one is picked to survive that dilution. Use it for note fills and hatches; keep `--yellow` for the label sitting on them. On dark the ink is already chromatic enough to do both jobs. */ --yellow-tint: #d29922; --blue: #58a6ff; --blue-soft: rgba(88, 166, 255, 0.13); --red: #fc4a47; --red-soft: rgba(252, 74, 71, 0.12); --purple: #a371f7; /* Tool-family hues (transcript timeline icons + detail accents) */ --tool-run: #3fb950; --tool-file: #58a6ff; --tool-edit: #e3b341; --tool-find: #f0883e; --tool-web: #39c5cf; --tool-agent: #f778ba; --tool-mcp: #a371f7; --tool-skill: #2dd4bf; /* The well a tool call's input and output sit in. It is a code colour scheme (GitHub's), not a step of the chrome ramp, which is why it is its own group rather than another --bg-*: the surface has to read as sunk under whatever card the tool block lands on, in both themes. NB the light value is the one `.markdown pre` moved away from — see the note above that rule — so a snippet here reads a touch raised in light where a pasted one reads sunk. Kept as-is by the migration; changing it is a visual call, not a mechanical one. */ --code-well: #0d0f13; --code-well-line: rgba(255, 255, 255, 0.06); --code-well-ink: #b6bcc8; --code-well-gutter: #565d6b; /* Source chips — one tinted pill per session origin (slack / linear / ask). Tokens rather than a rule per source because the theme is the only thing about them that moves: these are light-on-dark, and light needs the same hue re-toned dark-on-light to stay legible. A token re-resolves under html[data-theme] on its own, where the pair of rules it replaced had to state every chip twice. The neutral origins (cli, automation) use --bg-active/--text-dim and need no token of their own. */ --chip-slack-bg: rgba(74, 21, 75, 0.55); --chip-slack-fg: #d9a8db; --chip-linear-bg: rgba(94, 106, 210, 0.25); --chip-linear-fg: #9da6ee; --chip-ask-bg: rgba(210, 153, 34, 0.18); --chip-ask-fg: #e3b341; --mono: "SF Mono", ui-monospace, "JetBrains Mono", Menlo, Consolas, monospace; --sans: -apple-system, BlinkMacSystemFont, "Inter", "Segoe UI", sans-serif; /* The web keeps desktop's compact metrics, while a phone promotes every role one rung. These are real custom properties, rather than values written directly into Tailwind's @theme block, so the same utility can follow the viewport without a `phone:` override at every call site. Raw markdown and inherited UI text read these too, which keeps the whole scale together. */ --type-root: 14px; --type-meta: 11px; --type-label: 13px; --type-item-title: 14px; --type-body: 15px; --type-dialog-title: 17px; --type-section-title: 19px; --type-page-title: 24px; --type-stat: 28px; --type-stat-line: 32px; --type-input-phone: 16px; /* The weight a title takes: a page's own name, and the headings under it. It is a token rather than a fixed utility because the right weight is not the same in both themes. Light text on a dark page blooms, putting more ink on screen than the same stem does as dark text on white, which is the argument the light ramp below already makes about its greys, pointed the other way. So dark carries the lighter cut and light steps back up to semibold, and a heading is written `font-title` once instead of pairing a weight with a theme override at every call site. */ --title-weight: 500; --radius: 14px; /* Squircle corner treatment (Chrome 139+ `corner-shape`). A superellipse hugs the corner tighter than a circular arc at the same radius, so a browser that can draw one carries a larger radius multiplier than the circular fallback. --rf scales every px radius in the app and --cs picks the corner shape, so the pair flipped in the `@supports` block below is the whole switch. `corner-shape` is Chromium-only (WebKit has not shipped it), so Safari, and the installed iOS PWA with it, draws circular corners and has to reach the same shape with radius alone. It cannot land on it exactly, but the closest radius is the one that cuts the same amount off the corner: a circular arc removes 0.215r² of its corner square against a squircle's 0.073r², about three times as much, so it has to be 1.75x smaller to read at the same weight. 1.35 / 1.75 is the 0.771 here, and 1.75 is the ratio commonly used for squircle classes (8px round against 14px squircle). This was 1, the radius each corner is authored with, and that is what made Safari read visibly rounder than Chrome. It was 0.85 before that, and why THAT was wrong is worth keeping: it reached only controls while large overlays kept the full 1.35, so a Safari palette was a very round shell full of squarer buttons, the hierarchy inverted rather than degraded. Every radius in the app now derives from this one token, so a shell and the controls inside it move together whatever it is set to. */ --rf: 0.771; --cs: round; /* The same correction for a radius written as a PERCENTAGE of its box, which --rf cannot scale because the percentage is already relative: the 32% avatar tile, and nothing else. Percentages are authored at the value Chrome squircles, so this is 1 there and carries the whole 1/1.75 shrink in Safari. Derived from --rf rather than declared twice, so the `@supports` flip below stays the only place either one moves. */ --rp: calc(var(--rf) / 1.35); /* Session column width — messages, work blocks, composer, ask cards all share it so the conversation reads as one column. */ --session-col: 780px; /* Shared height for the desktop sidebar, session header and PR strip. */ --desktop-header-h: 48px; /* Header height grows by the iOS status-bar inset when installed as a PWA (black-translucent draws the webview under the clock/notch). The bar spends 8px on its own top pad, leaving 40px for MOBILE_BAR_SEGMENT and the settings mark in lib/app-header-classes.ts. Move the two together. */ --header-h: calc(48px + env(safe-area-inset-top, 0px)); } /* Above the phone breakpoint the top bar isn't rendered at all, so nothing is offset by it and the token collapses to zero. It stays a token rather than a rule on an element because everything that clears the bar reads it from somewhere else in the tree: the workspace panel anchors its ≤920px overlay to it, the sidebar masks its scroll by it, and the detail pane spends it as --pane-header-h. */ @media (min-width: 721px) { :root { --header-h: 0px; } } /* ── Light theme ───────────────────────────────────────────── Conductor-inspired neutral gray ramp. Applied when the user picks Light, or picks System and the OS is light — see src/frontend/lib/theme.ts + the pre-paint script in index.html, which set html[data-theme]. The whole UI is variable-driven, so redefining these ~15 core tokens re-themes it; the handful of hardcoded light-on-translucent spots get explicit overrides just below. */ html[data-theme="light"] { /* Same four tiers as :root, stepping down from white instead of up from charcoal (L0 #ffffff → L1 -9 → L2 -15 → L3 -20). The steps are wider than dark's 6/10/13 because ink on white reads lighter than the same step of white on charcoal. */ --bg: #ffffff; --bg-raised: #f6f6f6; /* The one L1 surface that does not take the full step: half of it, five units off white. The sidebar is a whole column of chrome, not a card, and at column scale the L1 grey reads as a panel bolted to the side of the page. What separates it is the seam and the shadow on the workspace's left edge, so the fill only has to be a shade cooler than the page, not a tier below it. Codex sets its sidebar two units off white, which was the first answer here and came out too faint to hold the column at all; this is the step in between. --topbar-bg follows it, and --bg-raised keeps the full step for the cards and panels that need a fill of their own. */ --sidebar-bg: #fafafa; --sidebar-material: rgba(250, 250, 250, 0.72); --sidebar-material-sheen: rgba(255, 255, 255, 0.42); /* See :root. On paper the cast reads, and it is half of what holds the chrome column apart from the content beside it. */ --content-edge-shadow: -1px 0 8px rgba(0, 0, 0, 0.05); /* Ink on white holds less of the page than white on charcoal does, so a title needs the heavier cut here to read as firmly as the lighter one does in dark. Same reasoning as the grey steps above, applied to stems instead of surfaces. */ --title-weight: 600; /* L3 + a barely-there shadow — the clean lifted chip from the Codex reference. It used to be #ffffff, byte-identical to --bg, so a chip, the composer and the mention popup had no surface of their own in light; and it sat at the BOTTOM of the ramp here while it sits at the top in dark. #ebebeb lands between --bg-panel (#f0f0f0) and --bg-hover (#e9e9e9), which is where dark's #292929 sits between #262626 and #2e2e2e. */ --control-surface: #ebebeb; /* A button is the composer's exception at chip scale. The ramp above is right for a *filled* chip — a status pill, an option row, an input well — which has nothing but its fill to read against the page. A button also carries a hairline and a cast shadow, and those already say "raised"; add the grey fill on top and the control reads as tinted rather than lifted, which is the disabled signal again. So it goes paper and lets the shadow do the lifting, exactly as the composer and the popups below do. */ --button-surface: #ffffff; /* Native light toolbar controls do not draw a dark outline around their glass. A zero-offset cast with a little spread lifts the whole silhouette evenly, including its top edge, without turning that edge into a border. */ --mobile-header-control-border: transparent; /* Thinner than dark's, because what shows through here is a bright page and the plate has to stay lighter than it to keep reading as glass rather than as a grey wash over the words underneath. */ --mobile-header-control-surface: color-mix(in srgb, var(--bg) 62%, transparent); /* Light mode reaches the same two weights from the other side: the selected tab is pure white, the rest the grey a step under it. */ --mobile-tab-surface-selected: var(--bg); --mobile-tab-surface: var(--bg-hover); --mobile-header-control-shadow: inset 0 1px 0 rgba(255, 255, 255, 0.6), 0 0 14px 1px rgba(0, 0, 0, 0.1); /* The segmented knob goes paper here, like every other raised control, and wears no edge at all. A --border hairline is darker than the --bg-hover track it lies on, so it reads as an outline drawn around the option rather than a plate raised out of the group, and the top of that outline has no shadow to justify it. White on a light grey track plus the cast shadow is enough; dark cannot do that and takes a fill and an edge of its own in the block above. */ --segmented-knob-surface: var(--button-surface); --segmented-knob-edge: transparent; /* The composer is the exception to the ramp above, and it has to be. The ramp steps AWAY from the page — darker in light — which is right for a small chip read against its neighbours, but the composer is a big empty box, and a big empty box that is darker than the page reads as a well you cannot type in: greyed out, the same signal a disabled field gives. So it goes white and does its lifting with an edge and a shadow instead of a fill, which is how a raised surface behaves in light anyway. #dcdcdc rather than --border (#e2e2e2): white-on-white needs a firmer line to hold its shape, while --border-strong (#d0d0d0) draws a box around the composer instead of an edge under it. This also fixes the stack behind it — the queue/agents flaps tuck under the composer at ~#f3f3f3, which is lighter than the old #ebebeb box in front of them, so the thing on top looked like the thing behind. */ --composer-surface: #ffffff; --composer-border: #dcdcdc; /* A hover card is the composer's case again: a big floating box, and the ramp's "step away from the page" (darker in light) turns it into a grey slab dropped on white — the same greyed-out signal, and it drags every thumbnail and chip inside it down with it. Paper instead: white, lifted by its shadow and an edge rather than a fill. That needs the composer's firmer line — the smooth-shadow ring resolves to ~#f3f3f3 here, which holds an edge under a grey fill but disappears under a white one. */ --popup-surface: #ffffff; --popup-ring: var(--composer-border); /* See :root. Here a dialog is the white-box-on-white case in that same paragraph, so it takes the composer's line rather than a mix of its own — the palette already did, and the two shells are one surface. */ --dialog-ring: var(--popup-ring); --composer-shadow: 0 2px 6px rgba(0, 0, 0, 0.04), 0 14px 36px rgba(0, 0, 0, 0.08); /* See :root. The light artwork has enough value range for a quiet cast to lift the glass card from it. This is the scale's `lg` step (smooth-shadow.css), written out because only one theme takes it. */ --auth-card-edge: 0 4px 12px -4px color-mix(in srgb, black 5%, transparent), 0 18px 48px -14px color-mix(in srgb, black 11%, transparent); --bg-panel: #f0f0f0; --bg-hover: #e9e9e9; --bg-active: #e0e0e0; /* See :root. */ --diagram-canvas: #fbfbfc; /* See :root. Four units off white for the column, eleven for its plates: the page's own #f0f0f0 plate is right for one card on white and too heavy repeated six times down a 480px column. */ --panel-surface: #fbfbfb; --panel-plate: #f4f4f4; /* See :root. Between the L1 plate and the sidebar's half-step, and it has to be: a settings page is a COLUMN of these blocks, not one card on the page, and at the full L1 grey (#f6f6f6) five of them stacked down 720px read as a page made of grey slabs rather than paper with a few quiet groups on it. The sidebar's own #fafafa is a step too far the other way: that value is sized for a full-height column, and a block that only has to hold a group of rows loses its edge at it. Seven units, so a group still reads as a surface while the page around it stays white. */ --settings-plate: #f8f8f8; /* Neutral black ink; a touch lighter than dark's wash because ink on white reads heavier than the same alpha of white on charcoal. */ --hover: rgba(0, 0, 0, 0.055); --hover-strong: rgba(0, 0, 0, 0.095); --selected: rgba(0, 0, 0, 0.065); --sidebar-row-hover: color-mix(in srgb, #000000 5.5%, var(--sidebar-bg)); --sidebar-row-selected: color-mix(in srgb, #000000 6.5%, var(--sidebar-bg)); --sidebar-row-selected-hover: color-mix( in srgb, #000000 11.6425%, var(--sidebar-bg) ); --row-chip: color-mix(in srgb, #000000 9.5%, var(--sidebar-bg)); --row-chip-hover: color-mix(in srgb, #000000 5.5%, var(--row-chip)); --border: #e2e2e2; --border-strong: #d0d0d0; /* See the note on the dark token. A touch more ink for the same reason the greys above carry it: black on white reads lighter than the same alpha of white on charcoal. */ --scrollbar-thumb: rgba(0, 0, 0, 0.15); --text: #1a1a1a; --text-dim: #646464; --text-faint: #949494; --accent: var(--text); --on-accent: var(--bg); --accent-soft: rgba(0, 0, 0, 0.12); --link: var(--blue); --tooltip-bg: #222222; --tooltip-fg: #ffffff; --tooltip-ring: rgba(255, 255, 255, 0.12); /* See the note on the dark pair. Light mode is where the old values read as dated, because sRGB holds almost no chroma at the lightness they sat at: the green was 92% of the little a forest green can carry. These lift the lightness instead, which is the only way to a vivid green here, and they spend the contrast headroom the two fills were carrying rather than the floor. White on green goes 5.08:1 to 3.82:1, above the 3:1 a knocked-out glyph needs, and white on red 5.36:1 to 4.54:1, still past 4.5:1 for the 10px count that sits on it. */ --green: #009740; --green-soft: rgba(0, 151, 64, 0.12); --yellow: #9a6700; --yellow-soft: rgba(154, 103, 0, 0.12); /* See the note on --yellow-tint above: light mode's ink is too dark and too desaturated to tint with, so the surface yellow is its own colour. */ --yellow-tint: #f0b400; --blue: #0969da; --blue-soft: rgba(9, 105, 218, 0.1); --red: #de3334; --red-soft: rgba(222, 51, 52, 0.1); --purple: #8250df; --tool-run: #1a7f37; --tool-file: #0969da; --tool-edit: #9a6700; --tool-find: #bc4c00; --tool-web: #1b7c83; --tool-agent: #bf3989; --tool-mcp: #8250df; --tool-skill: #0f766e; --code-well: #f6f8fa; --code-well-line: #d8dee4; --code-well-ink: #57606a; --code-well-gutter: #8c959f; /* Same hues as :root, re-toned dark-on-light — see the note there. */ --chip-slack-bg: rgba(122, 43, 124, 0.12); --chip-slack-fg: #8a2b8c; --chip-linear-bg: rgba(94, 106, 210, 0.14); --chip-linear-fg: #4650c0; --chip-ask-bg: rgba(210, 153, 34, 0.16); --chip-ask-fg: #9a6700; } /* Glass is an enhancement, never the thing holding the text up: without a working backdrop-filter a thinned fill is just a see-through card, and somebody who has asked the OS for less transparency has asked for exactly this. Both fall back to the opaque surface, which is the same colour the glass is mixed from, so nothing else about the popup changes. Declared after both theme blocks so they win over the :root definition. */ @supports not (backdrop-filter: blur(1px)) { :root { --popup-glass: var(--popup-surface); --palette-glass: var(--popup-surface); /* The page colour, which is what these controls were painted in before they became glass: without a blur behind it a thinned fill is just a window onto whatever is scrolling past. */ --mobile-header-control-surface: var(--bg); } } @media (prefers-reduced-transparency: reduce) { :root { --popup-glass: var(--popup-surface); --palette-glass: var(--popup-surface); --mobile-header-control-surface: var(--bg); } } /* ── Accent themes ──────────────────────────────────────────── The same ten sRGB pairs as native AccentTheme.swift. data-accent is written before paint by index.html and maintained by lib/accent-theme.ts. Keeping the values as theme-level tokens means every existing accent consumer switches together. --accent is the saturated fill/ring, --accent-ink is its readable foreground form on a page, --on-accent sits on a filled control, and --accent-soft becomes a hue-tinted wash/ring/shadow. */ html[data-accent] { --accent: var(--accent-dark); --accent-ink: var(--accent-ink-dark, var(--accent)); --on-accent: var(--on-accent-dark, #ffffff); --accent-soft: color-mix(in srgb, var(--accent) 16%, transparent); /* A hue has somewhere to go that ink does not, so it deepens instead of fading toward the page: the :root formula mixes the fill 14% into --bg, which on a teal plate lands on near-black rather than on a darker teal. Mixing into --text keeps the hue and reads as pressure in both themes — darker under light, lighter under dark, because that is where the ink ramp points. */ --accent-hover: color-mix(in srgb, var(--accent) 82%, var(--text)); } html[data-theme="light"][data-accent] { --accent: var(--accent-light); --accent-ink: var(--accent-ink-light, var(--accent)); --on-accent: var(--on-accent-light, #ffffff); --accent-soft: color-mix(in srgb, var(--accent) 12%, transparent); } html[data-accent="sky"] { --accent-light: #1d82bc; --accent-dark: #2495d6; } html[data-accent="indigo"] { --accent-light: #366ef5; --accent-dark: #5386f6; } html[data-accent="coral"] { --accent-light: #dd233a; --accent-dark: #f73648; } html[data-accent="orange"] { --accent-light: #d3571c; --accent-dark: #eb6221; } /* Honey keeps one fill in both appearances: yellow only exists at high lightness, so a value deep enough to separate from a white page still reads as gold on a dark one, and one colour spares the picker a swatch that changes identity with the theme. Its white glyph is a deliberate exception to the contrast rule the other accents keep, at 1.62:1. It is the pairing this palette was drawn from and it is only ever a glyph on a plate, never body text. The ink form is what carries a label, and that deepens until it clears text contrast instead. A switch or a checkbox has to read as on/off rather than as a colour, and yellow does neither: it is 1.3:1 against a white page, and its white glyph is the 1.62:1 that only works at the size of an arrow in a disc. Controls borrow Sky in both appearances. */ html[data-accent="lime"] { --accent-light: #eec75c; --accent-dark: #eec75c; --accent-ink-light: #8d7110; --accent-ink-dark: #eec75c; --accent-control: #2495d6; --on-accent-control: #ffffff; } /* Black is the accent with no hue: it inverts with the page, so its fill is white in dark mode. That is unreadable as a control's "on" state, and the ink ramp has nowhere left to deepen into, so it borrows Sky there. In light mode its own black plate reads perfectly well and is left alone. */ html[data-accent="mono"] { --accent-light: #000000; --accent-dark: #ffffff; --on-accent-light: #ffffff; --on-accent-dark: #000000; /* The one accent with no hue to deepen: it already sits past the end of the ink ramp, so mixing it into --text moves nothing. Back to the page. */ --accent-hover: color-mix(in srgb, var(--accent) 86%, var(--bg)); } html[data-theme="dark"][data-accent="mono"] { --accent-control: #2495d6; --on-accent-control: #ffffff; } html[data-accent="green"] { --accent-light: #1e8e45; --accent-dark: #24a351; } /* ── Motion ────────────────────────────────────────────────── One curve, three durations. The native OS1 app runs effectively a single spring everywhere — `.snappy(duration: 0.18–0.28, extraBounce: 0)` — and the web UI now matches it: one strong ease-out, no bounce, and the duration picked by how far the thing travels rather than by which component it is. --ease is the Ionic/iOS drawer curve. It decelerates hard into the end position, so movement is visible the instant it starts (the moment the user is watching most closely) and settles without overshoot. It is the primary token: use it for enters, exits, movement, hovers and colour swaps alike. The only deliberate exceptions are `linear` for constant motion (spinners, progress fills, marquees), where any easing would read as stuttering, and `ease-in-out` on the infinite breathing pulses, where the loop has no start or end to accelerate away from. Never `ease-in` on UI. Durations are chosen by travel distance, not by component: --dur-micro in-place state changes — hover washes, colour, opacity, a caret flip. Nothing moves more than a couple of px. --dur the default. Small anchored movement: popups, chips, carets, a control sliding a short distance. --dur-lg spatial changes that cross the screen — sheets, drawers, the settings pager. Two things deliberately sit outside the scale. `linear` stays on the voice waveform, which is driven by live audio amplitude rather than by a UI state change — easing a signal would misreport it. And the 1ms `animation` declarations on scroll-timeline elements are inert sentinels, not durations: the scroll position drives their progress, so they never elapse. Nothing below --dur-micro: under ~120ms a transition stops reading as motion and reads as a jump with a smear on it, which is worse than no transition at all. If something wants to be faster than --dur-micro, it wants no transition — delete it instead. */ :root { --ease: cubic-bezier(0.32, 0.72, 0, 1); --dur-micro: 0.15s; --dur: 0.2s; --dur-lg: 0.28s; } /* Reduced motion. One blanket rule rather than a guard per animation, so the default is fail-safe: anything added later is covered without anyone having to remember. It also reaches the Tailwind `transition-*` utilities in the components, which no per-animation guard ever could. The exceptions below are the motion that IS the information. A spinner or a pulsing status dot is the only thing on screen saying "this is happening right now"; freezing it doesn't calm the interface, it makes a live session look hung. Both are also safe under this preference for the reason the preference exists — they're small, fixed in place, and loop, so there is no travel across the viewport to trigger vestibular discomfort. What the preference removes is things flying, sliding, popping and washing about, which is exactly what the blanket above takes out. Deliberately NOT excepted, though they loop. Named by what the markup actually spells today — most of these are now Tailwind arbitrary animations, and an entry that names a class nobody emits any more is a decision nobody can find: animate-[staging-shimmer_…] (StagingLink) the skeleton block already says "loading"; the travelling highlight on top of it is decoration, and it is the one looping thing here that actually translates. animate-[composer-agents-pulse_…] (ComposerAgents) keeping the existing explicit choice to stop it. animate-[text-shimmer_…] (composerQueueSendingShimmer) the crest that crosses "Queueing"/"Sending". The word itself says what is happening, so a still label loses nothing. [animation-name:pixel-snake-trail] (PixelSpinner) the decorative pixel loader — a wave that travels across the block. However fun, it is the single most motion-heavy thing in the app and the clearest thing this preference is asking us to drop; the grid still reads as a graphic at rest. PREFER PUTTING A NEW EXCEPTION ON THE ELEMENT, not in this list: `motion-reduce:[animation-duration:0.8s]! motion-reduce:[animation-iteration-count:infinite]!` wins here (equal specificity, and the utility sheet is linked last) and travels with the component. Five indicators silently froze during the Tailwind migration because their class name was removed from the markup while its exception stayed behind here — invisible on screen, since the freeze only happens under the preference. It IS checkable, though: grep each name below against the shipped bundle (every .js file of the current build, not just the entry — the build code-splits), and a name with no hit is an indicator that no longer turns. All eleven were live on 2026-08-08. The exceptions restate their durations literally rather than trying to undo the blanket with `revert` — `revert` rolls back to the *origin* below the author one, i.e. the UA's `0s`, which would freeze exactly the indicators we are trying to keep alive. */ @media (prefers-reduced-motion: reduce) { *, *::before, *::after { transition-duration: 0.01ms !important; transition-delay: 0ms !important; animation-duration: 0.01ms !important; animation-delay: 0ms !important; animation-iteration-count: 1 !important; scroll-behavior: auto !important; } /* Progress spinners — constant rotation, the sole "working" signal, so they keep turning. Matched on the animation utility itself rather than on a hook class per spinner: the old name list silently stopped matching whenever a migration renamed an element, and a frozen spinner next to live output reads as a hung app. Anything spelt `animate-spin` or `animate-[spin_…]` is a progress indicator by construction. */ [class*="animate-spin"], [class*="animate-[spin"] { animation-duration: 0.8s !important; animation-iteration-count: infinite !important; } /* A spinner that turns at a rate other than the 0.8s above keeps its own exception, placed after that rule so its duration wins the tie. The 0.8s spinners need no entry at all — the rule above already names them by their animation utility. */ /* Status pulses — opacity breathing that encodes live session state (running vs waiting vs idle). The rule for this preference is "gentler, not zero: keep opacity, drop movement", and these are pure opacity. */ .pr-check-mark-pending, .prc-mark-pending, .rv-check-dot-pending { animation-duration: 1.4s !important; animation-iteration-count: infinite !important; } /* The caret below also has its animation in this file (see "Transcript liveness" further down), so this duration restates the rule's value. */ .pr-bar-checking { animation-duration: 1.6s !important; animation-iteration-count: infinite !important; } .msg-streaming .msg-body-assistant::after { animation-duration: 1s !important; animation-iteration-count: infinite !important; } } /* Phones: the composer is the bottom-most thing on screen, so its shadow has only the gap under it to fall into — and in mobile Safari (browser toolbar below, so no safe-area inset) that gap is a few px, far less than the ~32px a 14px-offset/36px-blur shadow needs. The tail was clipped into a hard line along the bottom edge. Pull the offset up and shorten the blur so the whole falloff lands inside the gap; the ambient spread still reads as lift. */ @media (max-width: 720px) { :root { --composer-shadow: 0 2px 6px rgba(0, 0, 0, 0.16), 0 4px 20px rgba(0, 0, 0, 0.2); } html[data-theme="light"] { --composer-shadow: 0 2px 6px rgba(0, 0, 0, 0.04), 0 4px 20px rgba(0, 0, 0, 0.08); } } /* The native iPhone UI reads transcript prose at 17pt. At phone width the PWA promotes every semantic role to the next rung of its existing scale, so its 15px body does not look like a shrunken desktop UI beside the native app. Inputs join the body at 17px, still above Safari's 16px zoom threshold. */ @media (max-width: 720px) { :root { --type-root: 15px; --type-meta: 13px; --type-label: 14px; --type-item-title: 15px; --type-body: 17px; --type-dialog-title: 19px; --type-section-title: 24px; --type-page-title: 28px; --type-stat: 34px; --type-stat-line: 38px; --type-input-phone: 17px; } } html[data-theme="light"] .markdown code { background: rgba(149, 59, 57, 0.09); color: #953b39; } /* A code block is a well: it has to read as sunk BELOW whatever it sits on. In dark that's free — #0c0c10 is below every surface in the ramp. Light has no absolute that works on both containers a `.markdown` block gets: an assistant turn paints on --bg (#fff), but a user or teammate turn paints on the bubble (--bg-panel #f0f0f0 / the teal wash), and the old #f6f8fa was LIGHTER than the bubble — so a pasted snippet read as raised in light and sunk in dark. Translucent ink instead, the same trick as --hover: one value that lands a fixed step below any surface it's dropped on. */ html[data-theme="light"] .markdown pre { background: rgba(0, 0, 0, 0.055); border-color: rgba(0, 0, 0, 0.1); color: #1f2328; } /* `.markdown pre code { background: none }` is out-specified in light by the inline-code rule above (html[data-theme] + .markdown + code beats .markdown + pre + code), so a block's own lines picked up the inline chip wash as a band behind each line. Dark never had it — there the two rules are the same weight and pre code wins on order. */ html[data-theme="light"] .markdown pre code { background: none; color: inherit; } * { box-sizing: border-box; } html { /* Drives light-dark() in embedded components (@pierre/trees) + native UI. theme.ts also sets this inline per resolved theme; this is the fallback. */ color-scheme: dark; } html[data-theme="light"] { color-scheme: light; } /* ── Scrollbars ────────────────────────────────────────────── A Mac on a trackpad draws an OVERLAY scrollbar: it fades in while you scroll, sits over the content, and reserves no width at all. Connect a mouse, or set Show scroll bars to Always, and the same window gets a permanent 15px bar with a filled track down the side of every panel. Measured against the transcript: a #272727 band on a #1a1a1a page carrying a #606060 thumb, full height, right against the info panel's edge, where it reads as a third column. Windows and Linux draw the same bar. Thin with the track dropped keeps what the bar is for, which is where you are in a long session and something to drag when a wheel is too slow, at a fraction of the ink. 15px becomes 11px, and the band becomes the page. Deliberately the standard properties, and NOT ::-webkit-scrollbar. That pseudo-element replaces the platform scrollbar with a custom one, and a custom scrollbar is never an overlay: giving it a width carves a permanent gutter out of every Mac that draws overlays (measured in Chrome on macOS: 0px becomes 8px). The standard pair is inert wherever the platform draws overlays, so it only reaches the bar that is really there. The app's own `[&::-webkit-scrollbar]:hidden` utilities are safe for the same reason nothing here sets a width — they hide, and a hidden bar reserves nothing. scrollbar-width does not inherit, so it takes the universal selector. Zero specificity, so the scrollers that hide their bar outright still win. */ * { scrollbar-width: thin; scrollbar-color: var(--scrollbar-thumb) transparent; } html, body { margin: 0; padding: 0; height: 100%; background: var(--bg); color: var(--text); font-family: var(--sans); font-size: var(--type-root); /* Medium is the app's regular. Metadata and supporting copy are the exceptions: they render at 400 so their secondary text stays quiet and their smaller strokes do not close up. Bold accents stay 600/700. */ font-weight: 500; /* No -webkit-font-smoothing here on purpose: macOS rasterizes text for us. `antialiased` opts out of that and thins every stem, so the same string reads lighter in the web UI than in the native app beside it. The default keeps the contrast boost AppKit applies, which is what the rest of the desktop looks like. */ /* Every size in this sheet is a hand-picked px value, but WebKit's default text autosizing (-webkit-text-size-adjust: auto) re-scales them per block from that block's width — so on iPhone the sidebar's rows came out at inconsistent, larger-than-authored sizes (and grew again in landscape). Preflight normally pins this to 100%; we deliberately don't ship it (see styles/tailwind.css), so it has to be set here. */ -webkit-text-size-adjust: 100%; text-size-adjust: 100%; } /* Form controls don't inherit font-weight — the UA stylesheet pins them to regular, and we deliberately don't ship Tailwind preflight to undo that. A huge share of the UI is