# The source of truth for the UI's colour and length tokens.
#
# `build.rs` reads this file and generates `theme.slint` into OUT_DIR at
# compile time; nothing here is read at runtime unless the `live-style`
# feature is on. Edit this file, never the generated one.
#
# Leaf values only. A token that binds several values into one concept — a
# panel heading's colour *and* size *and* weight — is a Slint component, not
# a row in a YAML file (see widgets.slint).
#
# Structure:
#   preamble  — prose emitted at the top of the generated file
#   colors:   — name -> "#RRGGBB", or `alias:` naming another colour token
#   lengths:  — name -> pixels
# Any token may carry `note:` (a `//` comment above it) or `doc:` (a `///`
# doc comment, which Slint surfaces to editors).
#
# Two entries are dividers rather than tokens, because YAML discards the blank
# lines between map entries and the generated file's grouping has to survive:
#   `section: <title>` — a headed run, optionally with its own `note:`
#   `break: true`      — a bare blank line between related tokens

preamble: |
  Near-neutral dark palette, achromatic signalling.

  Two commitments, both about not lying to the photographer.

  **Dark ground.** A light UI surrounding an image biases how that image is
  judged — the eye adapts to the brightest thing in view, and a white panel
  makes a correctly-exposed photograph look dark.

  **Near-neutral greys.** The earlier palette was a warm "darkroom safelight"
  brown (ground #14120F, R twelve points above B). That is worse than it
  sounds: simultaneous contrast pushes perception of the image *away* from the
  surround, so a warm chrome makes a neutral photograph read cool, and the
  photographer corrects toward warm to compensate. Every export drifts yellow.
  It is the same reason a print viewing booth is neutral grey rather than
  whatever colour the room happens to be.

  These greys carry a 2–3 point blue lift rather than being flatly achromatic.
  Pure R=G=B reads as dead to most eyes; a trace of cool reads as instrument
  rather than absence, and biases far less than warmth because the eye is more
  tolerant of a cool surround. The lift is small enough not to matter
  perceptually and deliberate enough not to be mistaken for drift.

  **No hue in the chrome.** Active and modified states are signalled by
  brightness alone. An accent sitting beside the image competes with it for
  attention and shifts the perception of nearby colours; a photo editor cannot
  afford either. The one exception is `warn-ink` — a caution is genuinely a
  different kind of thing from an active state, and hue is the fastest way to
  say so.

colors:
  ground: "#121314"
  surface: "#1B1C1E"
  surface-raised: "#252629"
  rule: "#323438"

  _inks: { break: true }
  ink: "#EDEEF0"
  ink-dim: "#9EA1A6"
  ink-faint: "#71747A"

  hover:
    value: "#2E3034"
    note: |
      Interactive states for surfaces. Named rather than written inline so a
      button, a section header and a list row cannot drift apart: hover lifts
      toward the light, press sinks back past the resting surface so the
      control reads as depressed rather than merely lit.
  pressed: "#17181A"

  _signalling:
    section: signalling
    note: |
      Achromatic, so the separation has to come from luminance. These are
      spaced further apart than a coloured palette would need: with hue
      unavailable, a two-step brightness difference is invisible, and a
      modified marker that cannot be spotted at a glance is not a marker.

  active:
    value: "#FFFFFF"
    doc: |
      An active or engaged control: a slider fill, a curve line, a checked
      box. Brighter than `ink` so it reads as lit rather than merely present.
  active-dim:
    value: "#C6C9CE"
    doc: Active, at rest — a filled control that is not under the pointer.
  active-pressed:
    value: "#8E9298"
    doc: Active, pressed. Sinks rather than lifts, matching `pressed`.

  modified:
    alias: active
    note: |
      "This differs from its default." Deliberately the brightest thing in the
      chrome: it is the one piece of state the photographer scans for, and
      with no hue to carry it, brightness is all there is.

  selected:
    value: "#383B40"
    doc: |
      A selected grid cell. A lifted neutral rather than a tint — distinct
      from `hover` because a multi-selection must stay legible after the
      pointer has moved on, which is the whole point of selecting several
      before dragging them.
  selected-ring:
    value: "#D5D8DD"
    doc: |
      The ring around a selected cell. Brighter than the fill so selection
      survives against a pale thumbnail, where the fill alone would vanish.

  warn-ink:
    value: "#C9A05A"
    note: |
      Semantic, and the only hue in the palette. A caution is not an active
      state, and it is worth the one exception to say that instantly. Muted
      rather than saturated so it does not shift perception of a nearby image.

lengths:
  _gaps: { break: true }
  gap-sm: 6
  gap: 12
  gap-lg: 20

  _text: { break: true }
  text-sm: 11
  text: 13
  text-lg: 17
  text-xl: 24

  radius-sm:
    value: 3
    note: |
      Corner radii. Two steps only: `radius-sm` for things that sit inside
      other things, `radius` for the controls themselves.
  radius: 4

  touch-target:
    value: 44
    note: "FR-UI-3: minimum 44pt hit target under touch."

  row-height:
    value: 26
    note: |
      One row of the collections tree, and one level of nesting. Both are
      tokens because a tree's indentation has to stay proportional to its row
      height; hard-coding either makes the hierarchy read wrong when the other
      changes.
  indent: 14

  control-height:
    value: 28
    note: |
      The drawn height of a button or section header. Deliberately shorter
      than `touch-target` — chrome this tall in every row would crowd the
      photograph — so controls grow their TouchArea past their own bounds to
      meet FR-UI-3 rather than growing their ink.
  control-min-width:
    value: 88
    doc: |
      Floor on button width, so a one-word label is still a comfortable
      target and a row of buttons has an even rhythm.