/* The design system, shared by the marketing shell and the cabinet. It lives in one file rather than inline in two templates because the alternative is two copies that drift — and the cabinet drifting away from the landing page is exactly what made the first version look like two different products stapled together. THE PALETTE AND GEOMETRY COME FROM THE BRAND'S VISUAL GUIDELINES (brand/README.md links the living document). Every value a designer would want to change lives in the token block below and nowhere else: change a line here, the whole site follows. A colour written anywhere else in this file — or in a template — is a defect, and the tests enforce it. Light is the default because the brand is a white product with black masses and one loud accent; dark is a full second theme, not an afterthought, because the guidelines name a dark surface mode of its own. */ /* Self-hosted: no request leaves for a font, which in Germany is a legal position as much as a performance one. Latin plus latin-ext — video titles carry accents. */ @font-face { font-family: "InstrumentSans"; src: url("/static/fonts/InstrumentSans.2ee17598a9.woff2") format("woff2"); font-weight: 400 700; font-display: swap; unicode-range: U+0000-00FF, U+0131, U+0152-0153, U+02BB-02BC, U+02C6, U+02DA, U+02DC, U+0304, U+0308, U+0329, U+2000-206F, U+2074, U+20AC, U+2122, U+2191, U+2193, U+2212, U+2215, U+FEFF, U+FFFD; } @font-face { font-family: "InstrumentSans"; src: url("/static/fonts/InstrumentSans-ext.c4fcfea41f.woff2") format("woff2"); font-weight: 400 700; font-display: swap; unicode-range: U+0100-02BA, U+02BD-02C5, U+02C7-02CC, U+02CE-02D7, U+02DD-02FF, U+0304, U+0308, U+0329, U+1D00-1DBF, U+1E00-1E9F, U+1EF2-1EFF, U+2020, U+20A0-20AB, U+20AD-20C0, U+2113, U+2C60-2C7F, U+A720-A7FF; } @font-face { font-family: "PlexMono"; src: url("/static/fonts/IBMPlexMono-400.08949f728d.woff2") format("woff2"); font-weight: 400; font-display: swap; } @font-face { font-family: "PlexMono"; src: url("/static/fonts/IBMPlexMono-500.01d2854474.woff2") format("woff2"); font-weight: 500; font-display: swap; } /* ── The brand palette ──────────────────────────────────────────────────────── Six colours and one accent, named exactly as the guidelines name them. Nothing else in the codebase may write a hex value; everything below derives from these. Change a line here and the site changes — that is the whole point of this block. */ :root{ /* Native chrome — scrollbars, select popups, date pickers — follows this and nothing else. Without it a black page keeps a bright scrollbar down its right edge. */ color-scheme:light; --brand-white:#ffffff; --brand-soft:#f2f3f1; --brand-black:#0d0f10; --brand-graphite:#242729; --brand-cool:#a3a8ac; --brand-border:#e4e7e5; --brand-lime:#c7ff3d; /* ── Light: the default. White page, black type, lime used once and loudly. ──── */ --bg:var(--brand-soft); --bg-2:var(--brand-white); --surface:var(--brand-white); --surface-2:var(--brand-soft); /* Elevation is contrast, not shadow: with the page tinted, a card rises by being white. */ --sunk:var(--brand-white); /* The direction's rgba(13,15,16,.12) — a divider a shade darker — written as what it actually composites to on this ground, so it stays one token instead of a literal repeated per section. It is not a taste change alone: when --brand-soft dropped to #F2F3F1 the old Border Gray fell to 1.12:1 against the page and tests/test_theme_toggle stopped seeing a border at all. */ --line:color-mix(in srgb,var(--brand-black) 12%,var(--brand-soft)); --line-soft:color-mix(in srgb,var(--brand-border) 60%,var(--bg)); /* A UI boundary — an input edge, a quote bar — needs 3:1 against its surround (WCAG 1.4.11), which the hairline border cannot carry. */ --line-strong:var(--brand-cool); --fg:var(--brand-black); --fg-2:var(--brand-graphite); /* Cool Gray as the guidelines name it measures 2.23:1 on white — tests/test_theme_toggle requires 3.0 for text and refuses it. This is the palette's own colour taken towards Graphite until it is readable, and nothing else about it changes. */ --fg-3:color-mix(in srgb,var(--brand-cool) 55%,var(--brand-graphite)); /* The accent as a FILL stays the loud lime; as INK it cannot — lime on white is 1.2:1 and unreadable. Text and rules therefore take the black, and the lime does its shouting through fills, which is exactly how the guidelines use it. */ --accent:var(--brand-lime); --accent-2:var(--brand-lime); --accent-ink:var(--brand-black); --accent-text:var(--brand-black); /* The mark's own colour, and the tile it sits on. Both are fixed across themes: a brand that changes colour with the interface is half the reason it stopped reading as a name. This pair also matches the favicon, so the tab and the navigation stop being two different logos. */ --accent-mark:var(--brand-black); --brand-tile:transparent; --accent-rule:var(--brand-black); --accent-line:var(--brand-border); /* The inverted surface — a dark card on a light page. It has to be a token, not the brand black itself: on the dark theme the page IS brand black, so a card painted with the literal disappears into it. Light inverts to black; dark lifts to graphite, the guidelines' own secondary dark surface. */ /* On a white page this is a grey card, one step below the ordinary tinted surface — enough to stand apart from the page, not enough to read as a black slab. Graphite here was the mistake: on white it looks black whatever it is called, and it made the issue header the heaviest thing on a page whose subject is the patterns below it. The ink stays dark, because dark type on light grey is the whole point. The dark theme lifts to graphite with white ink instead — see its own block. */ --invert-face:var(--brand-border); --invert-ink:var(--brand-black); --invert-ink-2:var(--brand-graphite); --invert-ink-3:color-mix(in srgb,var(--brand-cool) 40%,var(--brand-graphite)); --invert-line:var(--brand-cool); --invert-line-soft:var(--brand-border); --invert-tile:var(--brand-white); /* Lime is ink on the dark face and invisible on this one, so the inverted surface names its own accent per theme. */ --invert-accent:var(--brand-black); /* ── Values a theme changes by more than a colour ───────────────────────────── */ /* No glow, no lift: the guidelines separate surfaces by contrast and whitespace, never by shadow. */ --shadow-card:none; --shadow-hero:none; --shadow-menu:0 8px 24px -12px rgba(13,15,16,.18); --hairline:transparent; --tint:transparent; /* ── The two tones ───────────────────────────────────────────────────────────── A theme is two surfaces and everything else derives. Nothing may name a surface directly: an element paints with --ground (what it sits on) or --panel (what sits on it), assigned by position — see "Ground and panel" below. That invariant is what stops a white card landing on a white page. */ /* Swapped 30 Aug 2026: the page carries the tint and a card rises by being white. These two are what every card reads from — changing --bg and --surface without them leaves grey cards on a grey page. */ --tone-1:var(--brand-soft); --tone-2:var(--brand-white); --mark-shadow:none; --stage-pool:none; --hero-wash-1:0%; --hero-wash-2:0%; --nav-bg:color-mix(in srgb,var(--brand-white) 92%,transparent); --nav-solid:var(--brand-white); --nav-line:var(--line); --nav-sat:100%; /* ── Geometry ────────────────────────────────────────────────────────────────── Sharp and rectangular: 4-8px, never the 16-32px SaaS curve. --radius is the card-sized value; --radius-sm is for controls and small chips. */ --radius:8px; --radius-sm:4px; --maxw:1120px; } /* ── The dark theme ─────────────────────────────────────────────────────────── Not an inversion of the light one but the guidelines' own dark surface mode: #0D0F10 with white typography and a rare lime accent. Here the lime CAN act as ink, because on near-black it carries 14:1 — so links, rules and the mark take it back, and that is the one place the two themes genuinely differ in role rather than value. */ :root[data-theme="dark"]{ color-scheme:dark; --bg:var(--brand-black); --bg-2:var(--brand-graphite); --surface:var(--brand-graphite); --surface-2:var(--brand-graphite); --sunk:var(--brand-black); /* Graphite is the palette's own secondary dark, and against this theme's surface it measures 1.00:1 — an invisible border. Lifted towards Cool Gray by the smallest amount the contrast test accepts. */ --line:color-mix(in srgb,var(--brand-cool) 32%,var(--brand-black)); --line-soft:var(--brand-graphite); --line-strong:var(--brand-cool); --fg:var(--brand-white); --fg-2:var(--brand-cool); /* Cool Gray as the guidelines name it measures 2.23:1 on white — tests/test_theme_toggle requires 3.0 for text and refuses it. This is the palette's own colour taken towards Graphite until it is readable, and nothing else about it changes. */ /* Cool Gray exactly as the guidelines name it: on this dark ground it reads. */ --fg-3:var(--brand-cool); --accent:var(--brand-lime); --accent-2:var(--brand-lime); --accent-ink:var(--brand-black); --accent-text:var(--brand-lime); --accent-rule:var(--brand-lime); --accent-line:color-mix(in srgb,var(--brand-lime) 45%,transparent); /* On the dark theme the page is already brand black, so an inverted surface lifts instead of dropping — and there the ink does invert to white. */ --invert-face:var(--brand-graphite); --invert-ink:var(--brand-white); --invert-ink-2:color-mix(in srgb,var(--brand-white) 76%,var(--brand-graphite)); --invert-ink-3:color-mix(in srgb,var(--brand-white) 58%,var(--brand-graphite)); --invert-accent:var(--brand-lime); --brand-tile:transparent; /* The mark's ink on the dark theme. Two approved variants, one line apart — white is the one being tried (owner, 30 Aug 2026), lime is the one it replaced. The tile is transparent in both themes now, so whichever is chosen sits directly on the page and on the graphite footer without a square around it. */ --accent-mark:var(--accent); /* The mark follows `color`, not the token — the dark footer needed the same line. */ /* --accent-mark:var(--brand-lime); <- the lime variant, swap these two lines */ --invert-line:color-mix(in srgb,var(--brand-white) 22%,var(--brand-graphite)); --invert-line-soft:color-mix(in srgb,var(--brand-white) 11%,var(--brand-graphite)); --invert-tile:color-mix(in srgb,var(--brand-white) 9%,var(--brand-graphite)); --shadow-menu:0 8px 24px -12px rgba(0,0,0,.6); --tone-1:var(--brand-black); --tone-2:var(--brand-graphite); --nav-bg:color-mix(in srgb,var(--bg) 90%,transparent); --nav-solid:var(--bg); --nav-line:var(--line); } .muted{color:var(--fg-3);} /* ── Double Bite ─────────────────────────────────────────────────────────────── The brand mark's own geometry, read off the board: TWO adjacent notches bitten out of the right edge, sitting low rather than at the corners. Two teeth, one bite mark. MEASURED IN PIXELS, NEVER IN PERCENT. With percentages the teeth spread apart on a tall card and crowd together on a short one, so no two cards carried the same mark — which is the opposite of what a mark is for. The tooth height and the depth are fixed, and only their distance from the bottom edge is anchored. A clip-path, so the notch shows whatever is behind the object rather than a painted triangle. One object, one bite: the guidelines are explicit. */ :root{ --bite:13px; /* how deep the teeth cut in */ --tooth:12px; /* the height of one tooth */ --bite-base:16px; /* clearance between the lower tooth and the bottom edge */ } @media (max-width:520px){ :root{ --bite:10px; --tooth:9px; --bite-base:12px; } } /* The silhouette, once. Everything that needs the shape reads this one custom property rather than repeating a nine-point polygon that then drifts. */ *,*::before,*::after{ --bite-path:polygon( 0 0, 100% 0, 100% calc(100% - var(--bite-base) - var(--tooth) * 4), calc(100% - var(--bite)) calc(100% - var(--bite-base) - var(--tooth) * 3), 100% calc(100% - var(--bite-base) - var(--tooth) * 2), calc(100% - var(--bite)) calc(100% - var(--bite-base) - var(--tooth)), 100% calc(100% - var(--bite-base)), 100% 100%, 0 100% ); } /* The mark is opt-in and it belongs to CARDS — a content card, not a stat tile, not a table, not a form panel. It is asked for by name: an element takes `.bite` (or is one of the few components that are cards by definition), and everything else stays a plain square. Applying it by surface turned a mark into a texture and put a notch pair meant for a card onto a 90px tile. The silhouette itself is still declared exactly once, above. */ /* One bite per composition, not one per card. The guidelines say both "one object, one bite" AND "do not repeat the motif many times inside one composition", and a page of sheets and patterns was four bitten objects. The motif stays on `.bite`, the element named for it, and is asked for by name where a page wants it. */ .bite{ clip-path:var(--bite-path); } .bite-left,.who .initial,.acct-btn .initial{ --bite-path-left:polygon( 0 0, 100% 0, 100% 100%, 0 100%, 0 calc(100% - var(--bite-base)), var(--bite) calc(100% - var(--bite-base) - var(--tooth)), 0 calc(100% - var(--bite-base) - var(--tooth) * 2), var(--bite) calc(100% - var(--bite-base) - var(--tooth) * 3), 0 calc(100% - var(--bite-base) - var(--tooth) * 4) ); clip-path:var(--bite-path-left); } /* The avatar is 26px, so it needs its own scale or the teeth swallow the letter. */ .who .initial,.acct-btn .initial{--bite:5px; --tooth:5px; --bite-base:5px;} /* ── Sheets ──────────────────────────────────────────────────────────────────── The brand's way of setting text: not a monolithic column, but bitten sheets in one of four surface modes — white, soft grey, black, lime — each with a frame that can be quiet or loud. A sheet carries its own ground AND redefines the ink tokens inside it, so nested text can never inherit the page's colour and vanish. The frame is two stacked layers rather than a border: a real border is cut off by the clip-path along the teeth and leaves raw diagonal edges. The lower layer is the frame colour at full size, the upper is the fill inset by its width. */ .sheet{ position:relative; padding:clamp(20px,2.6vw,30px); background:transparent; --edge:var(--line); --face:var(--bg); --edge-w:1px; } .sheet::before,.sheet::after{ content:""; position:absolute; z-index:0; pointer-events:none; } .sheet::before{inset:0; background:var(--edge);} .sheet::after{inset:var(--edge-w); background:var(--face);} .sheet > *{position:relative; z-index:1;} .sheet-soft{--face:var(--bg-2); --edge:var(--bg-2);} /* Grey sheet with a drawn frame — the board's most common card. */ .sheet-soft.sheet-framed{--edge:var(--line-strong);} /* 1px, like every other rule on the page. The guidelines ask for thin borders and say plainly that structure comes from spacing, scale and contrast rather than from the weight of a line — so a frame is loud by its COLOUR here, not by its width. */ .sheet-framed{--edge:var(--fg); --edge-w:1px;} .sheet-accent{--edge:var(--accent); --edge-w:1px;} /* Named for what it does on the light theme, where it began; the tokens make it the page's opposite whichever theme is running. */ .sheet-dark{ --face:var(--invert-face); --edge:var(--invert-face); --fg:var(--invert-ink); --fg-2:var(--invert-ink-2); --fg-3:var(--invert-ink-3); /* Cool Gray as the guidelines name it measures 2.23:1 on white — tests/test_theme_toggle requires 3.0 for text and refuses it. This is the palette's own colour taken towards Graphite until it is readable, and nothing else about it changes. */ --fg-3:color-mix(in srgb,var(--brand-cool) 55%,var(--brand-graphite)); --line:var(--invert-line); --line-soft:var(--invert-line-soft); --accent-text:var(--invert-accent); --accent-rule:var(--invert-accent); --surface-2:var(--invert-tile); --accent-text:var(--accent); color:var(--fg); } .sheet-lime{ --face:var(--accent); --edge:var(--accent); --fg:var(--accent-ink); /* Secondary text on lime has to stay genuinely dark: mixed halfway towards the lime it turns olive and stops being readable, which is what the owner saw. */ --fg-2:color-mix(in srgb,var(--accent-ink) 92%,var(--accent)); --fg-3:color-mix(in srgb,var(--accent-ink) 80%,var(--accent)); --line:color-mix(in srgb,var(--accent-ink) 25%,var(--accent)); --accent-text:var(--accent-ink); color:var(--fg); } /* ── Extraction Frame ────────────────────────────────────────────────────────── Four corner markers around a highlighted object, from the guidelines' list of permitted graphics. Two pseudo-elements, two corners each. */ .frame{position:relative;} /* Four corner marks inside the object, as the board draws them on every card. Eight gradient layers on one pseudo-element — two strokes per corner — rather than clip-path L-shapes, which render a stub instead of a corner as soon as the box is not square. --mark-len and --mark-w keep the marks in step with each other. */ .frame::after{ content:""; position:absolute; inset:12px; pointer-events:none; --mark-len:16px; --mark-w:2px; --ink:currentColor; background: linear-gradient(var(--ink),var(--ink)) left top/var(--mark-len) var(--mark-w) no-repeat, linear-gradient(var(--ink),var(--ink)) left top/var(--mark-w) var(--mark-len) no-repeat, linear-gradient(var(--ink),var(--ink)) right top/var(--mark-len) var(--mark-w) no-repeat, linear-gradient(var(--ink),var(--ink)) right top/var(--mark-w) var(--mark-len) no-repeat, linear-gradient(var(--ink),var(--ink)) left bottom/var(--mark-len) var(--mark-w) no-repeat, linear-gradient(var(--ink),var(--ink)) left bottom/var(--mark-w) var(--mark-len) no-repeat, linear-gradient(var(--ink),var(--ink)) right bottom/var(--mark-len) var(--mark-w) no-repeat, linear-gradient(var(--ink),var(--ink)) right bottom/var(--mark-w) var(--mark-len) no-repeat; opacity:.5; } /* ── Highlight Strip ─────────────────────────────────────────────────────────── Lime tape behind a short line of text — the brand board's own device. Black ink, never white, and only ever on a phrase short enough to stay on one line. */ .strip{ display:inline-block; background:var(--accent); color:var(--accent-ink); padding:.12em .5em; font-weight:520; } /* ── Lime discipline ─────────────────────────────────────────────────────────── The guidelines want one large lime object per composition, not a scattering of green details. In light that happens by itself (--accent-text resolves to black); in dark it does not, and the eyebrow, the section labels, the stat numbers and the table multiples all inherited the lime — twenty-three lime things on one page. These carry information, not emphasis, so they take ink. */ :root[data-theme="dark"] .eyebrow, :root[data-theme="dark"] .sec-label, :root[data-theme="dark"] .stat .n, :root[data-theme="dark"] .tbl .mult, :root[data-theme="dark"] .metric .n.up{color:var(--fg);} /* ── Revealing a password ───────────────────────────────────────────────────── A typed password nobody can read is how a person ends up locked out of an account whose password they typed correctly twice. The control sits inside the field and changes what it announces, so it is usable without seeing it. */ .pw{position:relative;} .pw input{padding-right:46px;} .pw-eye{ position:absolute; right:1px; top:1px; bottom:1px; width:42px; display:grid; place-items:center; cursor:pointer; background:none; border:0; color:var(--fg-3); border-radius:var(--radius-sm); } .pw-eye:hover{color:var(--fg);} .pw-eye svg{width:19px; height:19px;} .pw-eye .eye-shut{opacity:0; transition:opacity .15s;} .pw-eye[aria-pressed="true"] .eye-shut{opacity:1;} .pw-eye[aria-pressed="true"]{color:var(--fg);} /* ── How lines break ────────────────────────────────────────────────────────── The right edge stays ragged — justified text on a 412px column opens rivers of white between words, and English without hyphenation opens them wide. What is fixed is the kind of ragged: headings break into even lines rather than leaving one word below a full one, and a paragraph never ends on a single short word stranded on its own line. Browsers without these keep today's behaviour, which is the current page. */ h1,h2,h3,h4,.hook,.brand,.plan-name,.locked-offer b{text-wrap:balance;} p,li,.formula,.issue-meta,.support,.sub,dd{text-wrap:pretty;} /* ── Mono, for the technical 5-10% ───────────────────────────────────────────── Ids, code, timestamps and money columns — where character alignment is the point. Not support lines: those are sentences, and setting them in a second face is what made the hooks page read as five typefaces at once. */ .mono,.pay-when,.pay-sum,time,code{ font-family:"PlexMono",ui-monospace,SFMono-Regular,Menlo,monospace; font-variant-numeric:tabular-nums; } /* The cabinet has no
elements, so it never took part in the alternation at all — which is precisely how a white card ended up on a white page there while the marketing page was fine. It opens on tone 1, and every panel in it takes tone 2. */ body{--ground-base:var(--tone-1); --ground:var(--tone-1); --panel:var(--tone-2); background:var(--ground);} /* Anything that sits ON a surface takes --panel, and then becomes the ground for whatever sits on IT — so a tile inside a card flips back to the section's own tone instead of disappearing into the card. --ground-base is what makes the swap possible without a cycle. CSS drops a custom property that refers to itself, so `--ground: var(--panel); --panel: var(--ground)` silently produces nothing at all; the section's tone is therefore parked in a third variable that panels never rewrite, and the swap reads from that. One selector list, so a component added later is covered rather than remembered. */ .card,.note,.script,.wrap-box,.panel,.plan-panel,.pay-list,.acct-menu,.stats,.plan{ background:var(--panel); } /* A bitten card cannot carry a border — the clip cuts it off along the teeth and leaves raw diagonals — so it draws its frame as two layers: the edge at full size with the fill laid over it, both cut to the same silhouette and both behind the content. One rule, taken by whatever wears `.bite`. */ /* Padding, not just a frame: the first version ran text into the stroke, and the bitten corner needs more clearance than a square one because the notch eats into the right edge exactly where a line of text ends. */ .bite{ position:relative; isolation:isolate; border:0 !important; box-shadow:none; padding:clamp(20px,2.2vw,26px) clamp(22px,2.4vw,30px); /* Cool Gray, not the hairline: a card whose fill matches the page needs an edge that can actually be seen. Border Gray on white measures 1.25:1, which is a line nobody notices; this one holds in both themes. */ --edge:var(--line-strong); --face:var(--panel); --edge-w:1px; background:transparent; } .bite::before,.bite::after{ content:""; position:absolute; pointer-events:none; clip-path:var(--bite-path); } .bite::after{inset:0; z-index:-2; background:var(--edge);} /* The fill is inset by the frame width, so its own 100% is a smaller box: reusing the outer polygon put its teeth two pixels off and the frame's lower diagonals vanished under the fill. The inner path therefore takes the inset out of every anchor, which lands its teeth on exactly the same pixels as the outer ones and leaves an even stroke all the way round. */ .bite::before{ inset:var(--edge-w); z-index:-1; background:var(--face); clip-path:polygon( 0 0, 100% 0, 100% calc(100% - (var(--bite-base) - var(--edge-w)) - var(--tooth) * 4), calc(100% - (var(--bite) - var(--edge-w))) calc(100% - (var(--bite-base) - var(--edge-w)) - var(--tooth) * 3), 100% calc(100% - (var(--bite-base) - var(--edge-w)) - var(--tooth) * 2), calc(100% - (var(--bite) - var(--edge-w))) calc(100% - (var(--bite-base) - var(--edge-w)) - var(--tooth)), 100% calc(100% - (var(--bite-base) - var(--edge-w))), 100% 100%, 0 100% ); } .bite-accent{--edge:var(--accent-rule); --edge-w:1px;} /* Where the reader is. Lime is the brand's "you are here", and it is the one place a card's frame changes colour. */ .pattern.here,.script.here, .pattern:hover,.pattern:focus-within, /* Hover changes the frame's COLOUR, not its weight. A border that thickens on hover moves the content by a pixel, and the guidelines want one width everywhere. */ .script:hover,.script:focus-within{--edge:var(--accent);} .bite-lime{--edge:var(--accent); --face:var(--accent); --fg:var(--accent-ink); --fg-2:color-mix(in srgb,var(--accent-ink) 82%,var(--accent)); /* The same correction `.sheet-lime` carries, and for the same reason the owner gave: a tertiary grey inherited from the theme goes olive on lime and stops being read. Without it the pricing card's label and its per-month line were the two dimmest things on a card that is meant to be the loudest. */ --fg-3:color-mix(in srgb,var(--accent-ink) 80%,var(--accent)); --line:color-mix(in srgb,var(--accent-ink) 25%,var(--accent)); --accent-text:var(--accent-ink); color:var(--fg);} /* Withheld work keeps the shape and the frame; what marks it is the missing body, not a texture. The hatch that stood here broke up along the notches and read as a damaged line rather than as a deliberate state. */ .bite.locked{--face:var(--bg); --edge:var(--line-strong);} *{box-sizing:border-box;} html{-webkit-text-size-adjust:100%;} body{ margin:0; background:var(--bg); color:var(--fg); /* Sticky footer. Short pages — the trial account's cabinet is one — otherwise leave the footer sitting directly under the last line with empty background below it, which reads as a page that failed to finish loading. */ min-height:100dvh; display:flex; flex-direction:column; font-family:"InstrumentSans",ui-sans-serif,system-ui,-apple-system,"Segoe UI", Roboto,sans-serif; font-size:16px; line-height:1.6; -webkit-font-smoothing:antialiased; overflow-x:hidden; } a{color:inherit;} img{max-width:100%;display:block;} /* ── Nav: brand left, one action right. Nothing else competes with the headline. ── */ .nav{ position:sticky; top:0; z-index:50; /* No backdrop blur. "glassmorphism" is on the guidelines' do-not-use list, and the bar is opaque instead — separation by contrast, which is what the same document asks for everywhere else. */ background:var(--nav-solid); border-bottom:1px solid transparent; transition:border-color .2s; } .nav.scrolled{border-bottom-color:var(--nav-line);} .nav-in{ max-width:var(--maxw); margin:0 auto; padding:14px 22px; display:flex; align-items:center; gap:18px; } /* The brand as a badge: the mark inside a near-black tile with the glyph knocked out in lime, and the word a clear step above the navigation in size, weight and tracking. Before this the word was 1.14x a nav link in the same ink — so it read as the first item in the menu rather than as the name of the product. Identical in both shells, both themes and both placements. A lockup with variants is how a brand starts to rot. */ /* Proportions measured off brand/source/shortirex-horizontal.png rather than judged by eye: against the mark's height, the gap is 0.19 and the word 0.434. With the mark box at 38px — the size of the controls it sits beside — that is a 5.8px gap. Most of it is already spent before the CSS gap: the mark asset carries 8% empty canvas on its right and the tile another 2px, so the declared gap is 1px and the measured one is right. The source sets the word slightly below the mark's centre; here it is centred, which is the owner's call and what a 38px bar wants. */ .brand{ display:flex; align-items:center; gap:1px; text-decoration:none; font-size:23px; font-weight:500; letter-spacing:-.03em; /* Load-bearing: with the inherited 1.6 the word becomes the tallest flex item and drives the box height instead of the tile. */ line-height:1; color:var(--fg); } .brand .tile{ display:grid; place-items:center; width:38px; height:38px; flex:0 0 auto; background:var(--brand-tile); border-radius:var(--radius-sm); } .brand .mark{ width:34px; height:34px; display:block; background:var(--accent-mark); -webkit-mask:url("/static/mark.7cbf120473.png") center/contain no-repeat; mask:url("/static/mark.7cbf120473.png") center/contain no-repeat; } /* --fg-2 against the brand's --fg is 1.3:1, which nobody can see. --fg-3 keeps AA on both grounds and lets the name lead. */ /* "rex" is the half the brand leans on — the Rex in the name and in the mark. The rest of the word carries it at normal weight so the emphasis lands. */ .brand b{font-weight:700;} .nav-link{color:var(--fg-3); text-decoration:none; font-size:14.5px; padding:7px 4px;} /* The controls on the right sit on one line, pushed to the edge. Without this they are block-level children of a plain div and stack — the theme button above the account chip, each in its own box, which is exactly how it looked. */ .nav-right{display:flex; align-items:center; gap:10px; margin-left:auto;} .nav-link:hover{color:var(--fg);} .icon-btn{ display:inline-grid; place-items:center; width:38px; height:38px; border-radius:var(--radius-sm); border:1px solid var(--line); color:var(--fg-2); text-decoration:none; background:var(--surface); transition:.18s; } .icon-btn:hover{color:var(--fg); border-color:var(--fg-3); transform:translateY(-1px);} /* The toggle shows the theme you would switch TO, which is what every phone does and therefore what a reader already expects: a sun while it is dark, a moon while it is light. Showing the CURRENT theme is the other defensible choice and it is the one that makes people click twice to find out which it meant. Both icons are in the markup and CSS chooses; swapping them in JavaScript would mean the wrong one is on screen for the moment before the script runs. */ .theme-btn svg{width:18px; height:18px;} .theme-btn .i-moon{display:none;} :root[data-theme="light"] .theme-btn .i-sun{display:none;} :root[data-theme="light"] .theme-btn .i-moon{display:block;} .icon-btn svg{width:18px;height:18px;} /* ── The account menu, under the person ────────────────────────────────────── Sign out used to sit in the main navigation beside the product sections, which put an irreversible action one mistap away from Pricing. It belongs behind the person, with the name visible so you can tell which account you are in. */ .acct{position:relative;} /* The name sits on the same line as the brand and is set to match it, so the bar reads as one row of one size rather than a large name and a small one. The tile inside stays 28px: it is a letter in a chip, not a second logo. */ .acct-btn{display:inline-flex; align-items:center; gap:9px; cursor:pointer; padding:4px 12px 4px 4px; border:1px solid var(--line); border-radius:var(--radius-sm); background:var(--surface); color:var(--fg); font:inherit; font-size:19px; font-weight:500; letter-spacing:-.02em; line-height:1; max-width:260px;} .acct-btn:hover{color:var(--fg); border-color:var(--fg-3);} .acct-btn .initial{display:grid; place-items:center; width:28px; height:28px; border-radius:var(--radius-sm); flex:0 0 auto; font-weight:700; font-size:12.5px; background:var(--accent); color:var(--accent-ink);} .acct-btn .nm{overflow:hidden; text-overflow:ellipsis; white-space:nowrap;} .acct-btn .chev{width:14px;height:14px;flex:0 0 auto;transition:transform .18s;} .acct.open .acct-btn .chev{transform:rotate(180deg);} @media (max-width:520px){ .acct-btn .nm, .acct-btn .chev{display:none;} .acct-btn{padding:4px;} } .acct-menu{position:absolute; right:0; top:calc(100% + 8px); min-width:216px; border:1px solid var(--line-strong); border-radius:0; box-shadow:var(--shadow-menu); padding:6px; z-index:60; display:none;} .acct.open .acct-menu{display:block;} .acct-who{padding:10px 12px 11px; border-bottom:1px solid var(--line-soft); margin-bottom:6px;} .acct-who b{display:block; font-size:14.5px; font-weight:620; color:var(--fg);} .acct-who span{display:block; font-size:12.5px; color:var(--fg-3); margin-top:2px; overflow:hidden; text-overflow:ellipsis;} .acct-menu a{display:block; padding:9px 12px; border-radius:0; text-decoration:none; color:var(--fg-2); font-size:14.5px;} .acct-menu a:hover{background:var(--panel); color:var(--fg);} /* Sign out is an ordinary menu item, not a warning. Amber made it the only coloured thing in the menu and put an off-palette colour on every signed-in page. */ .acct-menu a.leave{color:var(--fg-2);} /* Without scripting the menu cannot open, so the name links straight to the account page and Sign out stays reachable in the footer. */ html:not(.js) .acct-menu{display:none !important;} /* Groups inside the account menu. On a desktop the product links live in the top bar and this menu holds only the account, so the group headings would be labelling a single list — they appear only where the menu carries both. */ .acct-group + .acct-group{border-top:1px solid var(--line-soft); margin-top:6px; padding-top:6px;} .acct-menu h5{margin:8px 12px 4px; font-size:11px; font-weight:650; letter-spacing:.07em; text-transform:uppercase; color:var(--fg-3);} .only-narrow{display:none;} /* The cabinet's inline product links stop fitting well before the 780px breakpoint: with six of them the row measured 839px wide, so between 781px and ~838px the account control — the only route to Sign out — was clipped off the right edge, and body{overflow-x:hidden} meant it could not even be scrolled to. The account menu holds the same links, so hiding them earlier costs nothing. */ @media (max-width:900px){ .app .nav-mid{display:none;} } @media (max-width:780px){ /* The cabinet's one menu. .nav-mid has no burger to reopen it here, so it stays hidden and its links move into the account menu instead. */ .app .nav-mid{display:none !important;} .only-narrow{display:block;} } main{display:block; flex:1 0 auto; width:100%;} .wrap{max-width:var(--maxw); margin:0 auto; padding:0 22px;} section{padding:96px 0; position:relative;} /* Alternating section backgrounds, taken from satety.de where white and off-white give the page its rhythm. On a dark palette the same trick has to be much quieter — two values a few percent apart — or it reads as banding rather than as structure. */ /* Automatic, on satety.de's pattern (main > *:nth-child(odd|even)): the tone follows the section's position, so adding or reordering a section cannot leave two of the same tone touching. The explicit .alt class stays as an override for a section that must break the rhythm. Cards take the OPPOSITE tone to the section holding them, which is the half that makes it read as depth rather than as stripes — a card the same colour as its section is invisible. Keyed off one variable rather than a list of component classes, so a card type added later is covered instead of forgotten. */ /* ── Ground and panel ──────────────────────────────────────────────────────── Two variables carry the whole rule. --ground is the tone an element SITS ON; --panel is the tone anything sitting on it must take, and it is always the other one. Assigned by position, never by hand, so adding a section shifts the rhythm for everything below it automatically and nobody has to remember which way round this one is. The pair is redefined on a panel as well: inside a card, the ground IS the card, so a tile nested in it flips back to the section's tone rather than disappearing into the card. That is the second half of the rule and the half that is forgotten by hand. */ /* Scoped to the marketing shell. The cabinet has no bands, and its subscription panel is itself a
— so the unscoped rule counted that panel as a page band, handed it the ground tone, and the panel then painted itself the colour of the page it sits on. The check found it; the markup was innocent. */ body:not(.app) section{--ground-base:var(--tone-1); --ground:var(--tone-1); --panel:var(--tone-2);} body:not(.app) main > section:not(.hero):nth-of-type(odd){ --ground-base:var(--tone-2); --ground:var(--tone-2); --panel:var(--tone-1);} body:not(.app) main > section:not(.hero):nth-of-type(even){ --ground-base:var(--tone-1); --ground:var(--tone-1); --panel:var(--tone-2);} /* The hero opens the page on the base tone and stays out of the rhythm. */ body:not(.app) main > section.hero{ --ground-base:var(--tone-1); --ground:var(--tone-1); --panel:var(--tone-2);} body:not(.app) main > section{background:var(--ground);} /* Kept as an alias so a component written before this rule still lands on the right tone rather than on a guess. */ body:not(.app) section{--card-bg:var(--panel);} /* No rules between the bands. The sections already alternate white and soft white, and the guidelines are explicit that blocks are separated by spacing, scale and background contrast rather than by a quantity of lines. Two fading hairlines per section were the quantity. */ main > section:not(.hero):nth-of-type(odd)::before{top:0;} main > section:not(.hero):nth-of-type(odd)::after{bottom:0;} @media (max-width:640px){ section{padding:64px 0;} } /* ── Hero ─────────────────────────────────────────────────────────────────── */ .hero{padding:clamp(56px,10vw,120px) 0 clamp(48px,7vw,88px); position:relative; overflow:hidden;} /* The hero carries no glow. It had one — a blurred radial wash behind the headline — and the guidelines rule out neon glow and gradients as a brand device in the same breath. What separates the hero now is scale and whitespace, which is what they ask for. */ .eyebrow{margin:0 0 20px; color:var(--accent-text); font-size:13.5px; font-weight:650; letter-spacing:.14em; text-transform:uppercase;} /* Two-column hero: headline left, the explanation and the action right. Straight from satety.de — a single column leaves half a desktop viewport doing nothing, and the split gives the eye somewhere to land after the headline. */ .hero-grid{display:grid; grid-template-columns:1.05fr .95fr; gap:clamp(28px,5vw,64px); align-items:start;} @media (max-width:900px){ .hero-grid{grid-template-columns:1fr; gap:26px;} } .hero-right{padding-top:clamp(0px,3vw,42px);} .hero-kicker{font-size:clamp(17px,2vw,21px); font-weight:620; letter-spacing:-.02em; margin:0 0 14px; color:var(--fg);} /* The stats strip under the hero, with dividers — hers, and it is exactly the shape our evidence numbers want. */ /* One continuous segmented strip, not four cells. The art direction's note: four equal boxes with a number in each is the most recognisable SaaS pattern on the page, and it was the least Shortirex thing we had. Segmented Forms are on the approved list; four cards are not. So: one band, hairline segments, much larger figures, technical labels in the mono face — which the guidelines want visible at 5-10% and we were using at 3%. The lime falls on the last figure alone, and by meaning rather than decoration: it is the count the page's honesty rests on. While it is zero the page says zero. */ .stats{display:grid; grid-template-columns:repeat(auto-fit,minmax(150px,1fr)); border-top:1px solid var(--line-soft); border-bottom:1px solid var(--line-soft);} /* The block centres, the type inside it does not. A grid whose single column is sized to its content and then justified centres the NUMBER AND LABEL AS ONE OBJECT, which is what a stat tile is; centring the text instead would ragged both edges of a two-line label. Design direction, 5 Sep 2026. */ .stat{padding:30px 26px; text-align:left; border-left:1px solid var(--line); display:grid; justify-content:center; align-content:start;} .stat:first-child{border-left:0;} .stat:first-child{border-left:0;} .stat .n{display:block; font-size:clamp(30px,4vw,46px); font-weight:600; letter-spacing:-.03em; line-height:1; letter-spacing:-.03em; color:var(--accent-text); line-height:1.15; /* A value longer than its column wraps rather than running past the edge. The strip is the first thing under the hero, so a clipped word there reads as a broken page. */ overflow-wrap:break-word; hyphens:none;} .stat .l{display:block; color:var(--fg-3); font-family:"PlexMono",ui-monospace,monospace; font-size:11px; text-transform:uppercase; letter-spacing:.07em; margin-top:12px; line-height:1.5;} /* The art direction asked for one lime marker in this strip. It cannot be the figure itself: lime type on white measures about 2:1 and cannot be read. So it is a small block beside the figure that the page's honesty rests on — the count of topics qualified right now, which says zero while it is zero. */ .stat:last-child .n{display:flex; align-items:center; gap:12px;} .stat:last-child .n::before{ content:""; width:14px; height:26px; flex:0 0 auto; background:var(--accent); } @media (max-width:640px){ .stat{padding:20px 14px;} .stat:nth-child(odd){border-left:0;} .stat:nth-child(n+3){border-top:1px solid var(--line-soft);} } /* The accent phrase, on the pattern satety.de uses for its own — a gradient running from deeper to lighter across the words. The two colours are the button gradient's rather than a new pair, so the headline and the thing it asks you to click are the same green. Deliberately NOT as deep as the orange one. Measured against the navy: #28c98a is 8.2:1 and #5ae7a6 is 11.2:1, both AAA. Taking the dark end down to satety's depth puts it at 3.5:1 — and rendered, the first letter goes muddy and reads as a mistake. The solid colour is set first and the effect only inside @supports: background-clip with a transparent fill makes the text INVISIBLE wherever the clip does not apply, and this is the sentence the page exists to say. Forced-colors mode gets the plain text back for the same reason. */ /* Oversized, plain, black. The guidelines ask for large typography without weight games and forbid gradients as a brand device, so the headline is simply type — and the accent phrase is marked with the lime as a HIGHLIGHT STRIP behind it (a permitted graphic) rather than as coloured ink, because lime on white is 1.2:1 and unreadable as text. Black ink on lime is the guidelines' own rule. */ h1 .hl{ /* One strip, never two. Left to wrap, the highlight breaks wherever the line happens to end and paints two ragged blocks of different widths — the owner's "part on one line, part on another". The phrase is therefore its own unbreakable line: the headline is two statements anyway (the promise, then the proof), and giving the second one its own row is what the composition wanted. */ display:block; width:fit-content; white-space:nowrap; color:var(--fg); background:var(--accent); padding:.02em .16em; margin-top:.1em; /* The Double Bite on the headline's own highlight — the art direction's smallest and best-placed note: the first screen was recognisably modern tech and not yet recognisably ours, and one bite on the strip signs it without adding any graphic. Sized in em so the teeth scale with the headline instead of being three fixed pixels on a clamp()ed type scale. */ --bite:.09em; --tooth:.13em; --bite-base:.10em; clip-path:var(--bite-path); padding-right:.26em; } :root[data-theme="dark"] h1 .hl{color:var(--accent-ink);} h1{ font-size:clamp(34px,6vw,68px); line-height:1.02; letter-spacing:-.04em; font-weight:600; margin:0 0 22px; max-width:15.5em; color:var(--fg); /* Same reason as h2: on a phone this split "Stop guessing what to" / "post.", leaving one word alone under four. Balanced it becomes an even pair of lines. */ text-wrap:balance; } .lede{font-size:clamp(16.5px,1.9vw,20px); line-height:1.55; color:var(--fg-2); max-width:33em; margin:0 0 32px;} .lede strong{color:var(--fg); font-weight:560;} .cta-row{display:flex; gap:12px; flex-wrap:wrap; align-items:center;} /* In the hero the two buttons share the text column, so the row ends on the same line as the paragraph above it. Content-width buttons left a ragged right edge — measured at 119px short at 1440 and 184px at 820 — which reads as a mistake rather than as spacing. Only in the hero: elsewhere a pair of buttons sitting at their natural width is right. */ .hero .cta-row{display:grid; grid-template-columns:1fr 1fr; /* The same cap as .lede above it — and computed from .lede's font size, not from this element's. Both say 33em, but em resolves against the element's own size: the lede scales with clamp(16.5px,1.9vw,20px) while this row inherits 16px, so a plain 33em left the buttons 17px short at 820. Multiplying out the same clamp makes the two edges land together at every width rather than at most of them. */ max-width:calc(33 * clamp(16.5px, 1.9vw, 20px));} @media (max-width:520px){ .hero .cta-row{grid-template-columns:1fr;} } .btn{ /* Works on a