#notes:

[jcmarchi]

Typecasting and Viewport Transitions in CSS With tan(atan2())

New Post has been published on https://thedigitalinsider.com/typecasting-and-viewport-transitions-in-css-with-tanatan2/

Typecasting and Viewport Transitions in CSS With tan(atan2())

We’ve been able to get the length of the viewport in CSS since… checks notes… 2013! Surprisingly, that was more than a decade ago. Getting the viewport width is as easy these days as easy as writing 100vw, but what does that translate to, say, in pixels? What about the other properties, like those that take a percentage, an angle, or an integer?

Think about changing an element’s opacity, rotating it, or setting an animation progress based on the screen size. We would first need the viewport as an integer — which isn’t currently possible in CSS, right?

What I am about to say isn’t a groundbreaking discovery, it was first described amazingly by Jane Ori in 2023. In short, we can use a weird hack (or feature) involving the tan() and atan2() trigonometric functions to typecast a length (such as the viewport) to an integer. This opens many new layout possibilities, but my first experience was while writing an Almanac entry in which I just wanted to make an image’s opacity responsive.

Resize the CodePen and the image will get more transparent as the screen size gets smaller, of course with some boundaries, so it doesn’t become invisible:

This is the simplest we can do, but there is a lot more. Take, for example, this demo I did trying to combine many viewport-related effects. Resize the demo and the page feels alive: objects move, the background changes and the text smoothly wraps in place.

I think it’s really cool, but I am no designer, so that’s the best my brain could come up with. Still, it may be too much for an introduction to this typecasting hack, so as a middle-ground, I’ll focus only on the title transition to showcase how all of it works:

Setting things up

The idea behind this is to convert 100vw to radians (a way to write angles) using atan2(), and then back to its original value using tan(), with the perk of coming out as an integer. It should be achieved like this:

:root --int-width: tan(atan2(100vw, 1px));

But! Browsers aren’t too keep on this method, so a lot more wrapping is needed to make it work across all browsers. The following may seem like magic (or nonsense), so I recommend reading Jane’s post to better understand it, but this way it will work in all browsers:

@property --100vw syntax: "<length>"; initial-value: 0px; inherits: false; :root --100vw: 100vw; --int-width: calc(10000 * tan(atan2(var(--100vw), 10000px)));

Don’t worry too much about it. What’s important is our precious --int-width variable, which holds the viewport size as an integer!

Wideness: One number to rule them all

Right now we have the viewport as an integer, but that’s just the first step. That integer isn’t super useful by itself. We oughta convert it to something else next since:

different properties have different units, and

we want each property to go from a start value to an end value.

Think about an image’s opacity going from 0 to 1, an object rotating from 0deg to 360deg, or an element’s offset-distance going from 0% to 100%. We want to interpolate between these values as --int-width gets bigger, but right now it’s just an integer that usually ranges between 0 to 1600, which is inflexible and can’t be easily converted to any of the end values.

The best solution is to turn --int-width into a number that goes from 0 to 1. So, as the screen gets bigger, we can multiply it by the desired end value. Lacking a better name, I call this “0-to-1” value --wideness. If we have --wideness, all the last examples become possible:

/* If `--wideness is 0.5 */ .element opacity: var(--wideness); /* is 0.5 */ translate: rotate(calc(wideness(400px, 1200px) * 360deg)); /* is 180deg */ offset-distance: calc(var(--wideness) * 100%); /* is 50% */

So --wideness is a value between 0 to 1 that represents how wide the screen is: 0 represents when the screen is narrow, and 1 represents when it’s wide. But we still have to set what those values mean in the viewport. For example, we may want 0 to be 400px and 1 to be 1200px, our viewport transitions will run between these values. Anything below and above is clamped to 0 and 1, respectively.

In CSS, we can write that as follows:

:root /* Both bounds are unitless */ --lower-bound: 400; --upper-bound: 1200; --wideness: calc( (clamp(var(--lower-bound), var(--int-width), var(--upper-bound)) - var(--lower-bound)) / (var(--upper-bound) - var(--lower-bound)) );

Besides easy conversions, the --wideness variable lets us define the lower and upper limits in which the transition should run. And what’s even better, we can set the transition zone at a middle spot so that the user can see it in its full glory. Otherwise, the screen would need to be 0px so that --wideness reaches 0 and who knows how wide to reach 1.

We got the --wideness. What’s next?

For starters, the title’s markup is divided into spans since there is no CSS-way to select specific words in a sentence:

<h1><span>Resize</span> and <span>enjoy!</span></h1>

And since we will be doing the line wrapping ourselves, it’s important to unset some defaults:

h1 position: absolute; /* Keeps the text at the center */ white-space: nowrap; /* Disables line wrapping */

The transition should work without the base styling, but it’s just too plain-looking. They are below if you want to copy them onto your stylesheet:

And just as a recap, our current hack looks like this:

@property --100vw syntax: "<length>"; initial-value: 0px; inherits: false; :root --100vw: 100vw; --int-width: calc(10000 * tan(atan2(var(--100vw), 10000px))); --lower-bound: 400; --upper-bound: 1200; --wideness: calc( (clamp(var(--lower-bound), var(--int-width), var(--upper-bound)) - var(--lower-bound)) / (var(--upper-bound) - var(--lower-bound)) );

OK, enough with the set-up. It’s time to use our new values and make the viewport transition. We first gotta identify how the title should be rearranged for smaller screens: as you saw in the initial demo, the first span goes up and right, while the second span does the opposite and goes down and left. So, the end position for both spans translates to the following values:

h1 span:nth-child(1) display: inline-block; /* So transformations work */ position: relative; bottom: 1.2lh; left: 50%; transform: translate(-50%); span:nth-child(2) display: inline-block; /* So transformations work */ position: relative; bottom: -1.2lh; left: -50%; transform: translate(50%);

Before going forward, both formulas are basically the same, but with different signs. We can rewrite them at once bringing one new variable: --direction. It will be either 1 or -1 and define which direction to run the transition:

h1 span display: inline-block; position: relative; bottom: calc(1.2lh * var(--direction)); left: calc(50% * var(--direction)); transform: translate(calc(-50% * var(--direction))); span:nth-child(1) --direction: 1; span:nth-child(2) --direction: -1;

The next step would be bringing --wideness into the formula so that the values change as the screen resizes. However, we can’t just multiply everything by --wideness. Why? Let’s see what happens if we do:

span display: inline-block; position: relative; bottom: calc(var(--wideness) * 1.2lh * var(--direction)); left: calc(var(--wideness) * 50% * var(--direction)); transform: translate(calc(var(--wideness) * -50% * var(--direction)));

As you’ll see, everything is backwards! The words wrap when the screen is too wide, and unwrap when the screen is too narrow:

Unlike our first examples, in which the transition ends as --wideness increases from 0 to 1, we want to complete the transition as --wideness decreases from 1 to 0, i.e. while the screen gets smaller the properties need to reach their end value. This isn’t a big deal, as we can rewrite our formula as a subtraction, in which the subtracting number gets bigger as --wideness increases:

span display: inline-block; position: relative; bottom: calc((1.2lh - var(--wideness) * 1.2lh) * var(--direction)); left: calc((50% - var(--wideness) * 50%) * var(--direction)); transform: translate(calc((-50% - var(--wideness) * -50%) * var(--direction)));

And now everything moves in the right direction while resizing the screen!

However, you will notice how words move in a straight line and some words overlap while resizing. We can’t allow this since a user with a specific screen size may get stuck at that point in the transition. Viewport transitions are cool, but not at the expense of ruining the experience for certain screen sizes.

Instead of moving in a straight line, words should move in a curve such that they pass around the central word. Don’t worry, making a curve here is easier than it looks: just move the spans twice as fast in the x-axis as they do in the y-axis. This can be achieved by multiplying --wideness by 2, although we have to cap it at 1 so it doesn’t overshoot past the final value.

span display: inline-block; position: relative; bottom: calc((1.2lh - var(--wideness) * 1.2lh) * var(--direction)); left: calc((50% - min(var(--wideness) * 2, 1) * 50%) * var(--direction)); transform: translate(calc((-50% - min(var(--wideness) * 2, 1) * -50%) * var(--direction)));

Look at that beautiful curve, just avoiding the central text:

This is just the beginning!

It’s surprising how powerful having the viewport as an integer can be, and what’s even crazier, the last example is one of the most basic transitions you could make with this typecasting hack. Once you do the initial setup, I can imagine a lot more possible transitions, and --widenesss is so useful, it’s like having a new CSS feature right now.

I expect to see more about “Viewport Transitions” in the future because they do make websites feel more “alive” than adaptive.

[389]

PORTO ROCHA

[nanaluvbug]

🧀🥪🌶️🥭 The Ravening War portraits  🧀🥪🌶️🥭

patreon * twitch * shop  

[ID: a series of digitally illustrated portraits showing - top left to bottom right - Bishop Raphaniel Charlock (an old radish man with a big red head and large white eyebrows & a scraggly beard. he wears green and gold robes with symbols of the bulb and he smirks at the viewer) Karna Solara (a skinny young chili pepper woman with wavy green hair, freckled light green skin with red blooms on her cheeks. she wears a chili pepper hood lined with small pepper seeds and stares cagily ahead) Thane Delissandro Katzon (a muscular young beef man with bright pinkish skin with small skin variations to resemble pastrami and dark burgundy hair. he wears a bread headress with a swirl of rye covering his ears and he looks ahead, optimistic and determined) Queen Amangeaux Epicée du Peche (a bright mango woman with orange skin, big red hair adorned with a green laurel, and sparkling green/gold makeup. she wears large gold hoop earrings and a high leafy collar) and Colin Provolone (a scraggly cheese man with waxy yellow skin and dark slicked back hair and patchy dark facial hair. he wears a muted, ratty blue bandana around his neck and raises a scarred brow at the viewer with a smirk) End ID.)

[bartleby-company]

(vía Another America 50 by Phillip Toledano)

[70sscifiart]

One of my favorites by Paul Lehr, used as a 1971 cover to "Earth Abides," by George R. Stewart. It's also in my upcoming art book!

[taizooo]

もともとは10年ほど前にTumblrにすごくハマっていて。いろんな人をフォローしたらかっこいい写真や色が洪水のように出てきて、もう自分で絵を描かなくて良いじゃん、ってなったんです。それで何年も画像を集めていって、そこで集まった色のイメージやモチーフ、レンズの距離感など画面構成を抽象化して、いまの感覚にアウトプットしています。画像の持つ情報量というものが作品の影響になっていますね。

映画『きみの色』山田尚子監督×はくいきしろい対談。嫉妬し合うふたりが語る、色と光の表現｜Tokyo Art Beat

[layla-keating]

#thistension

XO, KITTY — 1.09 “SNAFU”

[nevver]

No one wants to be here and no one wants to leave, Dave Smith (because)

[389]

PORTO ROCHA

[theroyalweekly]

Beautiful photo of the Princess of Wales departing Westminster Abbey after attending the Commonwealth Day Service. --

[mellowlike]

齋藤飛鳥

[goodvibesandmemes]

GENERAL MEMES: Vampire/Immortal Themed 🩸🦇🌹

↳ Please feel free to tweak them.

Themes: violence, death, blood, murder, depression/negative thoughts

SYMBOLS: ↳ Use “↪”to reverse the characters where applicable!

🦇 - To catch my muse transforming into a bat 🌞 - To warn my muse about/see my muse in the sunlight. 🩸 - To witness my muse drinking blood from a bag. 🐇 - To witness To catch my muse drinking blood from an animal. 🧔🏽 - To witness To catch my muse drinking blood from a human. 🦌 - For our muses hunt together for the first time. 🏃🏿‍♀️ - To see my muse using super speed. 🏋🏼‍♂️ - To see my muse using their super strength. 🧛🏻‍♂️ - To confront my muse about being a vampire. 🌕 - For my muse to lament missing the sun. ⏰ - For my muse to tell yours about a story from their long, immortal life. 🤛🏽 - To offer my muse your wrist to drink from. 👩🏿 - For my muse to reminisce about a long lost love. 👩🏽‍🤝‍👩🏽 - For your muse to look exactly like my muse's lost love. 👄 - For my muse to bite yours. 👀 - For my muse to glamour/compel yours. 🧄 - To try and sneakily feed my muse garlic to test if they're a vampire. 🔗 - To try and apprehend my muse with silver chains. 🔪 - To try and attack my muse with a wooden stake. 👤 - To notice that my muse doesn't have a reflection. 🌹 - For my muse to turn yours into a vampire. 🌚 - For my muse and yours to spend time together during the night. 🧛🏼‍♀️ - For my muse to tell yours about their maker/sire.

SENTENCES:

"I've been alive for a long time [ name ], I can handle myself." "I'm over a thousand years old, you can't stop me!" "Lots of windows in this place, not exactly the greatest place for a vampire." "Do you really drink human blood? Don't you feel guilty?" "Vampires are predators, [ name ] hunting is just part of our nature, you can't change that." "You just killed that person! You're a monster!" "Tomorrow at dawn, you'll meet the sun [ name ]." "Can you make me like you?" "Do you really want to live forever?" "You say you want to live forever, [ name ], but forever is a long time, longer than you can imagine." "What was it like to live through [ historic event / time period ]?" "Did people really dress like that when you were young?" "What were you like when you were human?" "We’re vampires, [ name ], we have no soul to save, and I don’t care." "How many people have you killed? You can tell me, I can handle it." "Did you meet [ historic figure ]?" "Everyone dies in the end, what does it matter if I... speed it along." "Every time we feed that person is someone's mother, brother, sister, husband. You better start getting used to that if you want to survive this life." "[ she is / he is / they are ] the strongest vampire anyone has heard of, no one knows how to stop them, and if you try you're going to get yourselves killed." "Vampire hunters are everywhere in this city, you need to watch your back." "Humans will never understand the bond a vampire has with [ his / her / their ] maker, it's a bond like no other." "Here, have this ring, it will protect you from the sunlight." "I get you're an immortal creature of the night and all that, but do you have to be such a downer about it?" "In my [ centuries / decades / millennia ] of living, do you really think no one has tried to kill me before?" "Vampires aren't weakened by garlic, that's a myth." "I used to be a lot worse than I was now, [ name ], I've had time to mellow, to become used to what I am. I'm ashamed of the monster I was." "The worst part of living forever is watching everyone you love die, while you stay frozen, still, constant." "I've lived so long I don't feel anything any more." "Are there more people like you? How many?" "Life has never been fair, [ name ], why would start being fair now you're immortal?" "You want to be young forever? Knock yourself out, I just hope you understand what you're giving up." "You never told me who turned you into a vampire. Who were they? Why did they do it?" "I could spend an eternity with you and never get bored." "Do you really sleep in coffins?" "There are worse things for a vampire than death, of that I can assure you [ name ]." "You need to feed, it's been days. You can drink from me, I can tell you're hungry." "The process of becoming a vampire is risky, [ name ], you could die, and I don't know if I could forgive myself for killing you." "I'm a vampire, I can hold a grudge for a long time, so believe me when I say I will never forgive this. Never." "You were human once! How can you have no empathy?" "You don't have to kill to be a vampire, but what would be the fun in that." "You can spend your first years of immortality doing whatever you want to whoever you want, but when you come back to your senses, it'll hit you harder than anything you've felt before." "One day, [ name ], everything you've done is going to catch up to you, and you're never going to forgive yourself." "Stop kidding yourself, [ name ], you're a vampire, a killer, a predator. You might as well embrace it now because you can't keep this up forever." "You can't [ compel / glamour ] me, I have something to protect me." "When you've lived as long as me, there's not much more in life you can do." "You want me to turn you? You don't know what you're asking me to do." "You really have to stop hissing like that, it's getting on my nerves." "I'm going to drive this stake through your heart, [ name ], and I'm going to enjoy it."

[shitakeo33]

よく「発明は1人でできる。製品化には10人かかる。量産化には100人かかる」とも言われますが、実際に、私はネオジム磁石を1人で発明しました。製品化、量産化については住友特殊金属の仲間たちと一緒に、短期間のうちに成功させました。82年に発明し、83年から生産が始まったのですから、非常に早いです。そしてネオジム磁石は、ハードディスクのＶＣＭ(ボイスコイルモーター)の部品などの電子機器を主な用途として大歓迎を受け、生産量も年々倍増して、2000年には世界で1万トンを超えました。

世界最強「ネオジム磁石はこうして見つけた」（佐���眞人 氏 ／ インターメタリックス株式会社 代表取締役社長） | Science Portal - 科学技術の最新情報サイト「サイエンスポータル」

[nevver]

Arts & Architecture, Sander Patelski

[whencyclopedia]

The Delian League, Part 2: From Eurymedon to the Thirty Years Peace (465/4-445/4 BCE)

This text is part of an article series on the Delian League.

The second phase of the Delian League's operations begins with the Hellenic victory over Mede forces at Eurymedon and ends with the Thirty Years Peace between Athens and Sparta (roughly 465/4 – 445/4 BCE).The Greek triumph at Eurymedon resulted in a cessation of hostilities against the Persians, which lasted almost six years. Whether or not this peace or truce followed from some formal treaty negotiated by Cimon, son of Miltiades, remains unknown.

Nevertheless, the Greek success at Eurymedon proved so decisive, the damage inflicted on Persia so great, and the wealth confiscated so considerable that an increasing number of League members soon began to wonder if the alliance still remained necessary. The Persians, however, had not altogether withdrawn from the Aegean. They still had, for example, a sizeable presence in both Cyprus and Doriscus. They also set about to build a great number of new triremes.

REDUCTION OF THASOS & THE BATTLE OF DRABESCUS

A quarrel soon erupted between the Athenians and Thasians over several trading ports and a wealth-producing mine (465 BCE). Competing economic interests compelled the rich and powerful Thasos to revolt from the Delian League. The Thasians resisted for almost three years. When the polis finally capitulated, the Athenians forced Thasos to surrender its naval fleet and the mine, dismantle defensive walls, pay retributions, and converted the future League contributions to monetary payments: 30 talents annum. Some League members became disaffected with the Athenian reduction of Thasos. Several poleis observed the Athenians had now developed a penchant for using "compulsion." They started to see Athens acting with both "arrogance and violence." On expeditions, furthermore, the other members felt they "no longer served as equals" (Thuc. 1.99.2).

The Athenians, meanwhile, attempted to establish a colony on the Strymon river to secure timber from Macedon, which shared its borders with the west bank. The location also proved a critical strategic point from which to protect the Hellespont. The Thracians, however, repelled the League forces at Drabescus. The Athenians soon realized the threats from both Thrace and Macedon made permanent settlements in the region difficult as they were essentially continental powers, and the League fleet could not reach them easily. Designs for the region, however, would not change, and the Athenians would return there again.

The Delian League had by this time demonstrated an inherent conflict from its beginnings: on the one hand, it engaged in heroic struggles against the Mede and extended its influence, reaping enormous benefits (especially for its poorer members). On the other hand, it also suppressed its members and soon demanded obedience from them.

The League engaged from the outset in a form of soft imperialism, collecting and commanding voluntary naval contributions and tribute while Athens used those resources and led all expeditions, enforcing continued membership but also showing little or no interest to interfere with the internal mechanisms of any member polis (unless it openly rebelled).

Continue reading...