@deriv-com/dds-marketing 1.0.2 → 1.1.0

package/.llm/components/awards.md

@@ -0,0 +1,209 @@
+<!-- GENERATED from awards.contract.json. Do not edit. -->
+
+# Awards
+
+A section of social proof that lists the industry awards a company has won, each a badge between two laurels: a laurel, the award's name and its issuer, and the same laurel mirrored. From the fold the badges wrap into rows centred under the heading, five at most to a row and fewer as the band narrows, a short last row centred rather than left at the start. On a phone they run in one row across the band that moves along on its own, a loop with no seam.
+
+The reference design's FeatureAwards, phone marquee included, at motion.duration.ticker per award. It holds still while a pointer rests on it, while it has focus — it is a tab stop named by the heading while it runs — and while it is pressed; a reader who asked for less motion gets the row still, to swipe.
+
+## Use when
+
+- Building credibility with the industry awards a company has won — a “Why choose us”, about-us or trust page
+- Six awards or more, enough that the phone's row reads as running on past the band's edge and the rows from the fold read as a field
+
+## Do not use
+
+- One to three awards, or a few figures that make the case → `FeatureCards`
+- Partners, integrations or payment methods rather than awards → `LogoRows`
+- Reviews from customers rather than recognition from the industry → `TestimonialRow`
+- An award the company has not won, or one restated in words the issuer did not use. Each badge is a claim made in the issuer's name
+- Awards a reader is meant to press through to. The badges are words, not links; a page that needs each to open a press release wants cards
+- The page's opening band. This sits under the page's heading, never in place of it
+
+## Anatomy
+
+Awards renders 10 elements. A token binding names the part it applies to.
+
+- `root` — `<section>`, class `dds-awards`. The section. It paints the ground and the ink to go with it — see `ground` — and asks its own width, which is what the row folds on and what the phone's row runs out to. A region named by its heading.
+- `inner` — `<div>`, class `dds-awards__inner`. The measure and the gutter, the same column every band holds its content in, and the step from the heading to the awards: space.heading.content.
+- `header` — `<div>`, class `dds-awards__header`. The heading, held to size.measure.heading. Ranged to the start on a phone and centred from the fold, FeatureCards' arrangement and its reason.
+- `title` — `<h2>`, class `dds-awards__title`. What the badges are. `h2` because a section sits under the page's own heading.
+- `list` — `<ul>`, class `dds-awards__list`. The awards, a list. From the fold it wraps into rows centred under the heading, at space.grid.gutter across and down — five badges at most to a row, fewer as the band narrows, and a short last row centred rather than left at the start. On a phone it is one row instead, run out to the band's edges, that moves along on its own — the awards drawn twice, the second set hidden from assistive technology, so the loop has no seam. For a reader who asked for less motion it stands still, its first badge in line with the heading, and is swiped, coming to rest on a badge. While that row runs or is wider than the band it carries a tab stop of its own, named by the heading, so a keyboard can scroll to the badges a thumb reaches — Scroller's rule; once every badge shows, it has none.
+- `award` — `<li>`, class `dds-awards__award`. One badge: a laurel, the award's words and the laurel mirrored, in a line and centred on each other. Never wider than size.grid.track-md: from the fold the badges grow to share a row and stop there, so a short row does not stretch a badge across the band; on a phone each is that wide and does not shrink.
+- `laurel` — `<svg>`, class `dds-awards__laurel`. A laurel branch, decorative and hidden from assistive technology, drawn in the band's quieter ink — color.fg.muted, or color.fg.muted-inverse on the dark band — at icon.size.md wide. One drawing, the second mirrored, so the two branches turn their leaves in toward the words; in a right-to-left page the mirroring swaps sides with them.
+- `copy` — `<div>`, class `dds-awards__copy`. The award's words between the laurels, centred, its name over its issuer at space.heading.title-description-compact.
+- `name` — `<p>`, class `dds-awards__name`. What the award was for, at font.label.sm — the weight that makes it the line read first.
+- `issuer` — `<p>`, class `dds-awards__issuer`. Who gave it, and the year, at font.body.sm under the name, in the same ink: the reference design sets the two apart by weight alone.
+
+Apply these classes from the generated `awardsParts` constant rather than writing the strings by hand.
+
+## Composition
+
+- Takes no children. Everything it renders comes from props
+- Never contains: `Awards`, `LandingHero`, `ProductHero`, `PageHeader`, `Footer`, `Navbar` — in children or in any prop that takes a node
+
+## Props
+
+### ground — `page` | `subtle` | `strong` (default `page`)
+
+- `page` — The default, and the reference design's: the page's own white, with the laurels in color.fg.muted
+- `subtle` — The grey band, for a section that needs setting apart from the one above it. Painted as the band's tint laid over the page's own ground, so it is the same grey whatever is behind the section
+- `strong` — `color.bg.brand-strong`, the dark band, for a section a reader should arrive at. The heading and the awards turn white and the laurels take color.fg.muted-inverse, the band's own quieter ink
+
+Use when: Which of the page's three grounds this section paints, and with it the ink: the awards' words take the band's ink and the laurels its quieter one. The page's white is the reference design's ground for this section.
+Never for: Marking importance. Every section on a page painted a ground is a page with no emphasis left, and a reader stops reading the grounds as meaning anything.
+
+And never the brand's own coral, `color.bg.brand`, which is not offered here. That ground belongs to the band that asks a reader to do something, and an awards section asks for nothing.
+
+### title — `string` **Required.**
+
+Use when: Always. What the badges are, in the fewest words that name them — "Our awards".
+Never for: An award, or a claim the awards are meant to prove. The badges are the evidence; the heading only says what they are.
+
+### awards — `data` `Award[]` **Required.**
+
+Use when: Always. The awards, in the order they are read — across each row from the fold, and along the one row on a phone. Newest first, usually: the year is what says a claim is current. Six or more, so the phone's row runs on past the band's edge. An empty list draws nothing.
+Never for: An award listed twice to fill a row. A page passes each award once; the rows are the section's to arrange.
+
+## Accessibility
+
+Guaranteed by the component. Write none of it by hand: the ids these attributes point at are generated per instance, so an attribute set from outside either says the same thing twice or points at nothing.
+
+- Announced as: `region`
+- `Tab` — On a phone, while the row of awards runs or is wider than the band, moves to the row — focus holds a running row still. Nothing else here takes focus: the badges are words, not links.
+- `ArrowLeft` — On the focused row: scrolls it the way the key points — the browser's own scrolling, made reachable by the row's tab stop. Towards the start in a left-to-right page, towards the end in a right-to-left one.
+- `ArrowRight` — On the focused row: scrolls it the way the key points, the mirror of ArrowLeft.
+- accessible name from title, so the section is a named region a reader can jump to and skip
+- The awards are a list, announced with their count, each award once — its name, then its issuer. The laurels are hidden from assistive technology.
+- A row that runs or is wider than the band has a tab stop of its own, named by the heading, so a keyboard can reach it — to hold it still, or to scroll it; a row that shows every award, standing still, has none.
+- On a phone the row moves on its own, so it can be held (WCAG 2.2.2): it holds still while a pointer rests on it, while it has focus, and while it is pressed, and never runs for a reader who asked for less motion. The running row's second set is hidden from assistive technology, so each award is counted once.
+
+## Rules
+
+- **On a phone a section's actions stack and each fills the width, including when there is only one** — On a phone a page's actions stack, and each one fills the width. Not most of it, and not the width its label happens to need — the whole column.
+
+Two side by side is what this replaces. On the narrowest screen each gets half a column minus the gap, which is rarely enough for a real label: the words wrap inside the pills, the two buttons come out different heights, and the pair reads as a broken row rather than as a choice. Stacked, each has the whole width and neither has to shorten its words to fit.
+
+A single action fills too, and that is the part worth saying, because it is the one that looks unnecessary. A lone button has the room to sit at its natural width and still should not: a full-width control is the phone's convention for the thing the screen is asking you to do, and a pill hugging its label reads as one option among others that are not there. It also makes the target predictable — the whole width, wherever the thumb lands — which a centred pill does not.
+
+Filling is the row's job rather than the button's. A button has no width of its own and is not given one; the row it sits in becomes a column and stretches its children, so nothing about the control changes and the same button is full width here and its own size on a desktop.
+
+This is the phone's breakpoint, size.breakpoint.md, and not the wider one that decides whether a heading is centred. Those are different questions and they break at different widths: a heading stops being centred when the measure is the screen, while a button stops being full width much sooner than that — stretched across a tablet it is a long way from its own label, and a label centred in a metre of pill is harder to hit than one in a pill the size of the words.
+
+What this is not about is every row of controls. A set of filter chips, a pagination strip, a toolbar, a link sitting after a sentence — none of these is the page asking for something, and stacking them to full width would turn a strip the eye skims into a list it has to read. The test is whether the row is the call to action the section was written for.
+  Guidance only — cannot be checked automatically.
+- **Never nest one interactive element inside another** — Nested interactive elements produce ambiguous hit targets and an unreachable inner control for keyboard and screen-reader users. This is why the rule cannot live on any single component — it constrains Button, Link, CardButton and TextInput simultaneously.
+  Guidance only — cannot be checked automatically.
+- **A section that paints a ground sets the ink to go with it** — A page sits on color.bg.page, and a section that separates itself from it takes one of three grounds. color.bg.subtle is the light one and needs nothing further — the page's own ink still reads on it. The other two are dark and do not: color.bg.brand-strong takes color.fg.on-brand-strong, and color.bg.brand takes color.fg.on-solid. Both are white, and both are written as the role rather than the white they resolve to. Set one of those backgrounds without its ink and the text inherits whatever the page was already using, which is near-black on a dark band — legible to nobody, and invisible to every check here, because each pair passes contrast on its own and nothing can tell whether a section used both.
+
+color.bg.brand carries a second limit that is not about forgetting. Its ink measures 3.39:1, which clears the 3:1 a heading needs and misses the 4.5:1 running copy needs. A coral band may carry a headline and a call to action; a paragraph on one is text the reader has to work through at a ratio the waiver on that role does not cover — the waiver says so itself. A section with copy in it takes color.bg.brand-strong, which is near-black and carries white at full contrast.
+
+color.bg.strong is not a section ground. It is the inverted fill for an action that has to outrank what surrounds it, and the components that paint it — Button and ButtonIcon in their inverse form — already set both halves in one rule, which is the pattern a hand-painted section has to copy.
+  Guidance only — cannot be checked automatically.
+- **Every gap inside a section names the relationship it expresses, and the same relationship keeps its measure when it turns on its side** — A section's spacing is named by the relationship it expresses, not chosen by size. Every gap in a section has a role token, and reaching for a step off the generic scale because it happens to be the right number is how two sections written by two people stop lining up: the numbers agree today and drift the first time one of them is tuned.
+
+The heading group is three steps, not one gap. An eyebrow sits nearer its title than the title sits to its description, and the actions sit further from the description than either — space.heading.eyebrow-title, space.heading.title-description, space.heading.description-actions, in that order. A single `gap` on the group cannot say this; it sets all three the same and the block reads as evenly spaced lines rather than as a mark, a name and a paragraph. The eyebrow has to identify itself for this to work, because a group that opens with a title must not give its description the eyebrow's tighter step.
+
+The step between a title and its description follows the size of the title, which is why there are two of it. What a reader sees is not the gap but the gap plus the leading above it, and leading scales with the type: under a display title the leading is most of the space, under a card's title it is half as deep. One value for both makes a card look loose at the size that made a section look right. So space.heading.title-description is the display step and space.heading.title-description-compact is the step at a card's size, and the choice is made by how big the title is rather than by what kind of block it sits in.
+
+Every one of those steps is smaller than the gap below the group, and that ordering is what holds the group together as one thing. space.heading.content is the step between a heading group and the content it introduces, and it is the widest measure inside a section: the one gap the eye reads as a change of subject rather than as a continuation.
+
+That step is the same whether the content is under the heading or beside it. A split is the same relationship turned on its side — a heading group and the content it introduces — so the space between the two halves is space.heading.content, not a gutter. When the split collapses to one column on a phone the gap becomes vertical again, which is where it started, and nothing has to change for that to be right.
+
+space.grid.gutter is between two things of the same kind. Two cards in a row are the same kind; the two halves of a split are not, which is why the gutter is the wrong measure there even when the number would have looked acceptable. The gutter runs on both axes, so a grid reads as an even field rather than as rows with a seam down them.
+
+space.inset.card is the card's, not the page's. A row of cards padded differently is a row of different cards, and the fill is the only edge they have. A page composing a row does not get to choose it.
+
+Column count is not a breakpoint decision. A row holds as many columns as fit before a column would be narrower than size.grid.column-min, and drops one when they would not. Written as a fixed count that collapses at a breakpoint, a four-up row keeps four columns at every width above the phone and sets its copy two or three words to a line through the whole of the tablet range — and on a narrow desktop, which no breakpoint sits on at all. The threshold is a property of the row rather than of a card: a card fills whatever cell it is given.
+
+What this does not cover is the space above and below a section, which is space.section.default and space.section.compact, and the page's own side margin, which is space.inset.page. Those are the section's outside; everything here is its inside.
+  Guidance only — cannot be checked automatically.
+- **A section's title is centred over stacked content, starts beside content in columns, and starts on a phone** — Two arrangements, and the title's alignment is decided by which one it is introducing rather than chosen per section.
+
+Content stacked under the title — a row of cards, an accordion, a set of steps — takes a centred title. The heading group and the block below it share one axis, so a centred title is symmetric with the thing it names, and the eye drops from the middle of the words to the middle of the set. A title starting at the left over a centred or full-width block reads as belonging to the first column rather than to all of them.
+
+Content beside the title — a split, a picture in the other half, anything laid out in columns — takes a title that starts where its content starts. The two share a left edge, and that edge is what says they are one thing read across rather than two stacked. Centring the title there breaks the only alignment the reader has to hold the halves together, and it drifts further from its content the wider the page gets.
+
+The heading group is what carries this, not the heading alone. An eyebrow, a title and a description are read as one block and align together; aligning the title without them leaves a centred heading over start-aligned copy, which reads as a mistake rather than as a choice.
+
+Centred means all of it, not just the words. A badge, a row of actions, a picture — these are flex children, and a flex child is placed by align-items rather than by text-align, so a block that only sets the text leaves everything that is not text at the start. A hero is the case that shows it: its title and copy centred while its badge and its buttons did not.
+
+A capped block centres itself as well as its words. A heading group takes size.heading-group.max, and a cap that is not centred leaves the measure at the start of the column with the words centred inside it — composed, and a long way left of the middle it appears to be in.
+
+Both arrangements go to the start on a phone. A centred block reverts below the breakpoint, and the reason is the measure: on a phone the measure is the screen, so a centred title wraps to three or four ragged lines and the eye loses the left edge it was tracking — the same symmetry that reads as composure on a desktop is what makes it hard to scan on a phone. Centring there has to be asked for twice, and a section title is not one of the things that asks: it is centred because there is room for it, and on a phone there is not. Going back to the start means all of it too, and a capped block is the one that hides a leftover: its words go to the start while its measure stays in the middle of the column, which reads as a title still centred over a badge and buttons that are not — the box in the middle and the line inside it at the edge.
+
+A hero is a section like any other: its badge, title, copy and actions are one stacked block, so it is centred on a desktop and starts on a phone with everything else.
+
+What this is not about is a page whose body is a form or a document. A title over a sign-up form or a guide is not introducing a set of content — it is the first line of the thing itself, and it keeps the alignment the body has, which for running text is the start. The distinction is whether the block below is content the title names or content the title is part of.
+  Guidance only — cannot be checked automatically.
+- **Anything a pointer has to hit is at least 24px in both directions** — A control sized by its contents is as big as its contents, and a glyph is chosen for how it reads rather than for how easily it is hit. An icon-only button with no padding is a 16px target — smaller than the pad of a finger, and smaller than the tremor of a hand using a mouse.
+
+WCAG 2.2 asks for 24 by 24 CSS pixels at AA. The exceptions are narrower than they look: inline targets inside a sentence are exempt, and so is a small target with 24px of clear space around it — but a clear button sits against the field it empties, and a field is itself a target, so the spacing exemption does not apply to the case that keeps arising.
+
+The target and the mark are separate decisions, and conflating them is what produces both faults. Growing the glyph to 24px makes it shout; leaving the button at 16px makes it hard to hit. So the glyph keeps the size that reads correctly beside its text, and the box around it declares a minimum of its own — which is what size.target.min is for.
+
+Declared rather than emergent. Padding plus contents does clear 24px in several components today, and it is the weaker statement: it is a size nobody wrote down, so it moves when the type scale or the glyph does, and nothing says it was meant to be a target at all.
+  Guidance only — cannot be checked automatically.
+- **A component is written along the reading axis, not along the page's left and right** — Every measure, inset and placement in this package names an axis rather than a side: inline-size and block-size, padding-inline and padding-block, inset-inline-start and inset-block-end, margin-inline: auto, text-align: start. Written that way a component follows whichever direction the page is read in, and a band whose claim ranges to the leading edge with its subject on the trailing one is the same composition in Arabic as in English, mirrored, with nothing restated. Written as left and right it is the same pixels in both, which is a layout nobody designed for the second language.
+
+The enum values follow the same rule and for the same reason. A prop that names where a picture sits takes start and end, never left and right — FeatureSplit, FeatureBullets and FeatureScroll all declare mediaPosition that way, and the flex directions they generate flip on their own because row already means the reading order. A value called left would have to be re-read as right by every author working in a mirrored page, which is a translation this system should be doing rather than asking for.
+
+The guidance a contract carries is part of the component, so it follows too. Describing a claim as ranging left is describing one of the two languages, and it was written that way here for a while: three of the opening bands said so in their own intent. A reader in a mirrored page meets that sentence and has to decide whether the component is wrong or the sentence is, and neither answer is one documentation should force.
+
+Two things genuinely have no logical form and are not covered by this. A CSS gradient takes a physical direction — there is no to inline-end — so a pattern that must mirror has to be stated twice under a direction query, and one that is periodic and centred, like PageHeader's rule grid, does not need to. A glyph that points the way onward is the other: an arrow is a picture of a direction, and mirroring it belongs to the icon set rather than to the component holding it.
+  Guidance only — cannot be checked automatically.
+
+## Anti-examples
+
+❌ Awards for: One to three awards, or a few figures that make the case
+   A handful of things read side by side is a row of cards; a wreathed list of three looks like a list that ran out
+   → use `FeatureCards` instead.
+
+❌ Awards for: Partners, integrations or payment methods rather than awards
+   A partner is shown by its mark; an award is a sentence, and a sentence is what this sets
+   → use `LogoRows` instead.
+
+❌ Awards for: Reviews from customers rather than recognition from the industry
+   A review is a quote and a person; an award is a title and an issuer, and neither block draws the other's
+   → use `TestimonialRow` instead.
+
+## Example
+
+```tsx
+import { Awards } from '@deriv-com/dds-marketing'
+
+<Awards title="Our awards" awards={[{"title":"Best Trade Execution Award (MEA)","issuer":"Ultimate Fintech 2026"},{"title":"Best Trading Experience - Global","issuer":"UF Awards 2025"},{"title":"Best CFD Broker - LATAM","issuer":"UF Awards 2025"},{"title":"Most Innovative Broker - MEA","issuer":"UF Awards 2025"},{"title":"Most Transparent Broker - Global","issuer":"Global Forex Awards 2025"},{"title":"Best Broker - Africa","issuer":"Global Forex Awards 2025"},{"title":"Best Trading Platform - MENA","issuer":"Global Forex Awards 2025"},{"title":"Most Innovative Online Trading Platform","issuer":"Forex Expo Dubai 2025"},{"title":"Chief Risk & Compliance Officer of the Year","issuer":"Forex Expo Dubai 2025"},{"title":"Best Broker - APAC","issuer":"UF Awards 2025"},{"title":"Best Trading Conditions - Global","issuer":"Finance Magnates 2025"},{"title":"Most Trusted Broker - Middle East","issuer":"Finance Magnates 2025"}]} />
+```
+
+## In use
+
+### Awards between laurels
+
+Centred rows of five at most from the fold, a short last row centred; one row that runs on its own on a phone, holding still under a finger or focus.
+
+```tsx
+import { Awards } from '@deriv-com/dds-marketing'
+
+// Twelve awards — two full rows and a short one
+<Awards title="Our awards" awards={[{"title":"Best Trade Execution Award (MEA)","issuer":"Ultimate Fintech 2026"},{"title":"Best Trading Experience - Global","issuer":"UF Awards 2025"},{"title":"Best CFD Broker - LATAM","issuer":"UF Awards 2025"},{"title":"Most Innovative Broker - MEA","issuer":"UF Awards 2025"},{"title":"Most Transparent Broker - Global","issuer":"Global Forex Awards 2025"},{"title":"Best Broker - Africa","issuer":"Global Forex Awards 2025"},{"title":"Best Trading Platform - MENA","issuer":"Global Forex Awards 2025"},{"title":"Most Innovative Online Trading Platform","issuer":"Forex Expo Dubai 2025"},{"title":"Chief Risk & Compliance Officer of the Year","issuer":"Forex Expo Dubai 2025"},{"title":"Best Broker - APAC","issuer":"UF Awards 2025"},{"title":"Best Trading Conditions - Global","issuer":"Finance Magnates 2025"},{"title":"Most Trusted Broker - Middle East","issuer":"Finance Magnates 2025"}]} />
+
+// Seven awards — a row and a centred pair
+<Awards title="Recognised by the industry" awards={[{"title":"Best Trade Execution Award (MEA)","issuer":"Ultimate Fintech 2026"},{"title":"Best Trading Experience - Global","issuer":"UF Awards 2025"},{"title":"Best CFD Broker - LATAM","issuer":"UF Awards 2025"},{"title":"Most Innovative Broker - MEA","issuer":"UF Awards 2025"},{"title":"Most Transparent Broker - Global","issuer":"Global Forex Awards 2025"},{"title":"Best Broker - Africa","issuer":"Global Forex Awards 2025"},{"title":"Best Trading Platform - MENA","issuer":"Global Forex Awards 2025"}]} />
+```
+
+### The three grounds
+
+The awards take the band's ink and the laurels its quieter one: muted on the page and the grey band, muted-inverse on the dark band.
+
+```tsx
+import { Awards } from '@deriv-com/dds-marketing'
+
+// ground="page"
+<Awards title="Our awards" awards={[{"title":"Best Trade Execution Award (MEA)","issuer":"Ultimate Fintech 2026"},{"title":"Best Trading Experience - Global","issuer":"UF Awards 2025"},{"title":"Best CFD Broker - LATAM","issuer":"UF Awards 2025"},{"title":"Most Innovative Broker - MEA","issuer":"UF Awards 2025"},{"title":"Most Transparent Broker - Global","issuer":"Global Forex Awards 2025"},{"title":"Best Broker - Africa","issuer":"Global Forex Awards 2025"},{"title":"Best Trading Platform - MENA","issuer":"Global Forex Awards 2025"}]} />
+
+// ground="subtle"
+<Awards title="Our awards" awards={[{"title":"Best Trade Execution Award (MEA)","issuer":"Ultimate Fintech 2026"},{"title":"Best Trading Experience - Global","issuer":"UF Awards 2025"},{"title":"Best CFD Broker - LATAM","issuer":"UF Awards 2025"},{"title":"Most Innovative Broker - MEA","issuer":"UF Awards 2025"},{"title":"Most Transparent Broker - Global","issuer":"Global Forex Awards 2025"},{"title":"Best Broker - Africa","issuer":"Global Forex Awards 2025"},{"title":"Best Trading Platform - MENA","issuer":"Global Forex Awards 2025"}]} ground="subtle" />
+
+// ground="strong"
+<Awards title="Our awards" awards={[{"title":"Best Trade Execution Award (MEA)","issuer":"Ultimate Fintech 2026"},{"title":"Best Trading Experience - Global","issuer":"UF Awards 2025"},{"title":"Best CFD Broker - LATAM","issuer":"UF Awards 2025"},{"title":"Most Innovative Broker - MEA","issuer":"UF Awards 2025"},{"title":"Most Transparent Broker - Global","issuer":"Global Forex Awards 2025"},{"title":"Best Broker - Africa","issuer":"Global Forex Awards 2025"},{"title":"Best Trading Platform - MENA","issuer":"Global Forex Awards 2025"}]} ground="strong" />
+```

package/.llm/components/background.md

@@ -2,7 +2,7 @@
 
 # Background
 
-A ground a section or a block sits on, painted with a pattern rather than a flat fill — a halftone, an aurora, a rule grid or rings. It moves slowly at rest, answers the pointer and carries no meaning; what the band holds sits on top of it.
+A ground a section or a block sits on, painted with a pattern rather than a flat fill — a halftone, an aurora, a mesh, a rule grid or rings. It moves slowly at rest, answers the pointer and carries no meaning; what the band holds sits on top of it.
 
 ## Use when
 
@@ -21,20 +21,22 @@ A ground a section or a block sits on, painted with a pattern rather than a flat
 
 ## Anatomy
 
-Background renders 3 elements. A token binding names the part it applies to.
+Background renders 5 elements. A token binding names the part it applies to.
 
 - `root` — `<div>`, class `dds-background`. The band's ground and the box everything else sits in. It paints the tone's flat colour, which is what shows before the canvas has drawn and what a reader sees wherever the dots have faded to nothing — so the pattern is always an addition to a finished ground, never the ground itself.
   
   It clips, so the canvas can fill it edge to edge without its pixels reaching past the band, and it isolates, so the content's stacking never has to know a canvas is under it. It takes the whole width it is given and is as tall as what it holds: a background follows its section rather than setting the section's height. Where a page makes it taller than that — a band held to a screen, a frame of fixed proportions — what it holds sits in the middle of it, over the glow that rises from the band's foot. A grid with one item does that without reaching into the item: the canvas is placed absolutely and takes no part in it.
   
-  It costs nothing it does not need to. The halftone draws only while something moves — the drift at half the display's rate, or the glow catching up with the pointer — and only while the band is on screen. The aurora, the grid and the rings have no canvas at all: they are painted by the stylesheet, the aurora's drift is a transform the compositor runs, the grid and the rings move by where their lines start, every pattern's motion at rest waits while the band is off screen, and nothing runs for the pointer while it is elsewhere. Until the halftone's canvas has painted, the band shows its plain ground, so nothing jumps.
-- `canvas` — `<canvas>`, class `dds-background__canvas`. The halftone. Drawn only for `pattern="halftone"` — the aurora, the grid and the rings are painted by the stylesheet onto the root and need no canvas. Laid over the ground and under the content, filling the band, and taking no pointer events and no place in the accessibility tree — it is paint, not content.
+  It costs nothing it does not need to. The halftone draws only while something moves — the drift at half the display's rate, or the glow catching up with the pointer — and only while the band is on screen. The other patterns are one fragment shader each: a single draw a frame, paused off screen. Their stylesheet versions — what shows before a shader has drawn and where WebGL cannot run — have no canvas at all, and move only by transforms and gradient positions the compositor runs. Until the halftone's canvas has painted, the band shows its plain ground, so nothing jumps.
+- `canvas` — `<canvas>`, class `dds-background__canvas`. Where the pattern is drawn, laid over the ground and under the content, filling the band, taking no pointer events and no place in the accessibility tree — it is paint, not content. For the halftone a 2D canvas; for every other pattern a WebGL one, running that pattern's fragment shader — noise folded into noise, lit, with a fine grain over it that gives the field a tooth and keeps a long fade from banding. Each pattern's inks are custom properties the stylesheet sets per tone from colour tokens, read back as the browser resolves them. A WebGL canvas stays hidden until it has a frame; then the root is marked `data-shaded` and the stylesheet's own version of the pattern steps aside, so the band is never blank and never shows both.
   
-  The dots blend between two inks: the one at the glow's edge is this element's `color`, and the one at its centre is its `outline-color` — an outline it never draws, bound so a second colour token can reach the pixels. On the dark ground the dots run from the brand's coral, color.bg.brand, to white, color.fg.on-brand-strong, so the glow's heart burns white. On the light ground both are the coral, because white would vanish into the page; on the coral ground both are white, color.fg.on-brand, because coral would vanish into the band. The canvas reads both back when it draws. The grid's measures are size.halftone.pitch and size.halftone.dot, read the same way.
+  The halftone's dots blend between two inks: the one at the glow's edge is this element's `color`, and the one at its centre is its `outline-color` — an outline it never draws, bound so a second colour token can reach the pixels. On the dark ground the dots run from the brand's coral, color.bg.brand, to white, color.fg.on-brand-strong, so the glow's heart burns white. On the light ground both are the coral, because white would vanish into the page; on the coral ground both are white, color.fg.on-brand, because coral would vanish into the band. The grid's measures are size.halftone.pitch and size.halftone.dot, read the same way.
   
-  The glow's movement is motion.duration.trail and motion.easing.enter, bound as this element's transition and read back when the glow moves. While a pointer is over the band the glow chases it, closing most of the gap within the duration so it stays just behind the pointer and moves smoothly; when the pointer leaves, it glides back to rest over the same duration, decelerating into place along the easing. Nothing transitions on the element itself; the binding is how a motion token reaches a loop a stylesheet does not run.
+  Movement is motion.duration.trail and motion.easing.enter, bound as this element's transition and read back: while a pointer is over the band the light chases it, closing most of the gap within the duration, and glides back to rest when it leaves. Nothing transitions on the element itself; the binding is how a motion token reaches a loop a stylesheet does not run.
   
-  It is drawn at most at twice the CSS pixel density. A dot a few pixels wide has nothing to gain from a third device pixel per pixel, and a canvas the size of a band at three times the density is nine times the memory for no difference anybody can see.
+  It is drawn at most at twice the CSS pixel density — the hairline patterns need it — and the soft fields at the CSS density, which is all a field with no edge in it can use. At rest it draws at half the display's rate, and only while the band is on screen; for a reader who asked for less motion it draws one frame.
+- `mesh` — `<div>`, class `dds-background__mesh`. The mesh, for `pattern="mesh"`: a layer a tenth larger than the band on every side, painted in the tone's ground and blurred, holding the pools. The overhang is what the blur needs: a blurred layer the band's own size fades at its edges, and the band would show a pale rim. Behind the content, taking no pointer events and no place in the accessibility tree. Rendered only when `pattern` is set.
+- `pool` — `<span>`, class `dds-background__pool`. One pool of the mesh, five of them: an uneven round shape in one of the tone's reds, drifting and stretching on loops of its own length, and leaning towards the pointer at its own depth, trailing it by its own lag. On the coral ground they are the brand's deepest red (color.bg.brand-deep, held back so the words keep a red to stand on), its pressed red twice, its hover, and the coral itself high in the far corner, the brightest of them. No white: it washed the reds to pink. Rendered only when `pattern` is set.
 - `content` — `<div>`, class `dds-background__content`. What the band holds — a hero, a call to action, a set of features — laid over the pattern. It takes the ink that reads on the tone: white on the dark and the coral grounds, the default ink on the light one, so text placed straight on the background is legible without the block having to know what it is standing on. A block that sets its own ink keeps it. Absent where the Background holds nothing: then it is a layer, filling the positioned band it is placed in, behind that band's own content — how a block offers the pattern under itself without its layout changing. It holds the page's own measure and inset, the way every block's inner column does — space.inset.page either side and no wider than size.content.max, centred in the band — and centres what it holds, so a heading and an action placed straight on it sit in the middle of the glow rather than against the band's edge.
 
 Apply these classes from the generated `backgroundParts` constant rather than writing the strings by hand.
@@ -46,23 +48,24 @@ Apply these classes from the generated `backgroundParts` constant rather than wr
 
 ## Props
 
-### tone — `dark` | `light` | `brand` (default `dark`)
+### tone — `dark` | `light` | `brand` (default `brand`)
 
-- `dark` — The default, and the band the pattern was drawn for: coral dots glowing on color.bg.brand-strong, which is dark in both modes. Reach for it for the band a page opens or closes on, where the glow gives the band a centre
+- `dark` — The band the halftone was drawn for: coral dots glowing on color.bg.brand-strong, which is dark in both modes. Reach for it for the band a page opens or closes on, where the glow gives the band a centre
 - `light` — Coral dots on the page's own ground, for a light page that wants one moment of brand colour without a solid coral band. The glow reads as warmth rather than light, so keep it for a section that is not competing with a dark one nearby
-- `brand` — White dots on the coral brand fill, for a call to action standing on it. The heading is white too, and the glow rises from the foot of the band towards it, so check the words read on the coral alone — the dots can only add to what is behind them
+- `brand` — The default: the brand's own coral, the ground the mesh was made for and the one a call to action stands on. White dots on it for the halftone. The heading is white too, and the glow rises from the foot of the band towards it, so check the words read on the coral alone — the pattern can only add to what is behind them
 
 Use when: Which ground the dots are drawn on. It sets the flat colour under the pattern, the dots' ink — coral on the dark and light grounds, white on the coral one — and the ink of what sits on it
 Never for: Matching the page's colour mode. Dark is dark in both modes — a band that should invert with the theme is a plain section on color.bg.page, not this
 
-### pattern — `halftone` | `aurora` | `grid` | `rings` (default `halftone`)
+### pattern — `halftone` | `aurora` | `mesh` | `grid` | `rings` (default `halftone`)
 
-- `halftone` — A grid of dots across the whole band that grow towards a soft glow and settle to a fine screen away from it. The default, and the one that moves most
-- `aurora` — Broad soft pools of the brand's colour rising from the band's foot and drifting slowly into one another — light as colour rather than as points. Drawn by the stylesheet: no canvas. At rest the pools wander, there and back, over motion.duration.drift; on an interactive band a smaller pool trails the pointer. Reach for it where the halftone would be too busy — an opening band with a picture or a product on it, where dots behind the picture fight it and a wash of colour does not
-- `grid` — A fine rule grid of hairlines, fading in towards the band's foot — the grid PageHeader paints, offered for any band. Drawn by the stylesheet: no canvas. On an interactive band the lines brighten in a soft circle around the pointer and fade back when it leaves; at rest the rules rise slowly, a pitch over motion.duration.drift. Reach for it where the band should read as deliberate and quiet rather than lit
-- `rings` — Hairline circles spreading out from the middle of the band's foot, fading in towards it, at size.rings.pitch. Drawn by the stylesheet: no canvas. On an interactive band the rings brighten in a soft circle around the pointer and fade back when it leaves; at rest the rings spread slowly outward, a pitch over motion.duration.drift. As quiet as the grid, but round: reach for it where the band should feel open and centred rather than ruled — a call to action, a closing band with one thing to say
+- `halftone` — A grid of dots across the whole band that grow towards a soft glow and settle to a fine screen away from it, over a faint wash of their own ink. The glow's edge wanders from a plain ellipse as it drifts, so it reads as light on a surface rather than a spotlight. The default, and the one that moves most
+- `aurora` — Curtains of light rising from the band's foot: sheets of the brand's colour swaying and folding, with a ragged crest and fine rays running up through them — light falling through folds rather than pools of colour. Drawn by a shader with a grain over it; before it has drawn, and where it cannot, soft pools of the same colour painted by the stylesheet. At rest the curtains sway over motion.duration.drift; on an interactive band the pointer bends them towards it and brightens them. Reach for it where the halftone would be too busy — an opening band with a picture or a product on it, where dots behind the picture fight it and a wash of light does not
+- `mesh` — The whole band in the brand's reds, folded into one another like a liquid — the design system's own front page. A noise warped by a noise, so the colours run in ribbons and eddies with a sheen on their crests, turning slowly. Drawn by a shader with a grain over it; before it has drawn, and where it cannot, five blurred pools painted by the stylesheet. On an interactive band the pointer draws the field towards it, as a hand drawn through paint; with `animated` off it rests until the pointer is over the band and flows only while it is. Made for the coral ground, where it is the brand at its loudest; on the dark ground it is red smoke on near-black, on the light one a faint marbling. Reach for it for the one band a page is remembered by, and keep the words on it few and large
+- `grid` — Hairlines a pitch apart, size.rule-grid.pitch, rising from a soft bloom at the band's foot — the grid PageHeader paints, offered for any band, now lit: a brighter point where two lines cross, and every few lines a short dash of light running along it. Drawn by a shader at up to twice the pixel density, so a hairline stays a hairline; before it has drawn, and where it cannot, the same rules painted by the stylesheet. At rest the rules rise slowly, a pitch over motion.duration.drift; on an interactive band the lines brighten around the pointer. Reach for it where the band should read as deliberate and quiet rather than lit
+- `rings` — Hairline circles spreading out from the middle of the band's foot at size.rings.pitch, out of a soft bloom there, with arcs of light travelling round each ring at its own pace and direction. Drawn by a shader at up to twice the pixel density; before it has drawn, and where it cannot, the same rings painted by the stylesheet. At rest the rings spread slowly outward, a pitch over motion.duration.drift; on an interactive band they brighten around the pointer. As quiet as the grid, but round: reach for it where the band should feel open and centred rather than ruled — a call to action, a closing band with one thing to say
 
-Use when: Which pattern is drawn. The halftone is the default and the one that moves most; the aurora drifts slowly; the grid and the rings are the quietest, their lines rising and spreading at a band's pace. One prop rather than a component each, so a new pattern is a new value and a page written now keeps working when one arrives
+Use when: Which pattern is drawn. The halftone is the default and the one that moves most; the aurora drifts slowly; the mesh flows across the whole band; the grid and the rings are the quietest, their lines rising and spreading at a band's pace. One prop rather than a component each, so a new pattern is a new value and a page written now keeps working when one arrives
 Never for: Choosing per breakpoint. A pattern is the band's identity; one that changed between a phone and a desk would be two bands
 
 ### animated — `boolean` (default `true`)
@@ -179,7 +182,7 @@ import { Background, Stack, Typography, Button } from '@deriv-com/dds-marketing'
 <Background>
   <Stack gap="md" align="center">
     <Typography variant="h2">Trade the markets that move you</Typography>
-    <Button variant="primary">Open an account</Button>
+    <Button variant="inverse" tone="brand">Open an account</Button>
   </Stack>
 </Background>
 ```
@@ -193,18 +196,18 @@ Dark is the band the glow was drawn for, the same in both modes. Light carries t
 ```tsx
 import { Background, Typography } from '@deriv-com/dds-marketing'
 
-// dark — the default
-<Background tone="dark">
+// brand — the default, white dots on the coral
+<Background tone="brand">
   <Typography variant="h3">Trade the markets that move you</Typography>
 </Background>
 
-// light
-<Background tone="light">
+// dark
+<Background tone="dark">
   <Typography variant="h3">Trade the markets that move you</Typography>
 </Background>
 
-// brand — white dots on the coral
-<Background tone="brand">
+// light
+<Background tone="light">
   <Typography variant="h3">Trade the markets that move you</Typography>
 </Background>
 ```
@@ -234,11 +237,16 @@ import { Background, Typography } from '@deriv-com/dds-marketing'
 
 ### The aurora
 
-Soft pools of the brand's colour rising from the foot and drifting slowly into one another, on every ground. Drawn by the stylesheet; over the band a smaller pool trails the pointer.
+Curtains of light rising from the band's foot, swaying and folding, with fine rays through them. Drawn by a shader with a grain over it; the pointer bends them towards it.
 
 ```tsx
 import { Background, Typography } from '@deriv-com/dds-marketing'
 
+// brand
+<Background tone="brand" pattern="aurora">
+  <Typography variant="h3">Trade the markets that move you</Typography>
+</Background>
+
 // dark
 <Background tone="dark" pattern="aurora">
   <Typography variant="h3">Trade the markets that move you</Typography>
@@ -248,16 +256,11 @@ import { Background, Typography } from '@deriv-com/dds-marketing'
 <Background tone="light" pattern="aurora">
   <Typography variant="h3">Trade the markets that move you</Typography>
 </Background>
-
-// brand
-<Background tone="brand" pattern="aurora">
-  <Typography variant="h3">Trade the markets that move you</Typography>
-</Background>
 ```
 
 ### The aurora moving
 
-The pools drift at rest; a smaller pool trails the pointer. `animated` turns off the first, `interactive` the second.
+The curtains sway at rest; the pointer bends them towards it and brightens them. `animated` turns off the first, `interactive` the second.
 
 ```tsx
 import { Background, Typography } from '@deriv-com/dds-marketing'
@@ -278,27 +281,73 @@ import { Background, Typography } from '@deriv-com/dds-marketing'
 </Background>
 ```
 
-### The rule grid
+### The mesh
 
-Hairlines on every ground, fading in towards the foot. Quiet and static: drawn by the stylesheet, with no canvas and nothing running.
+Pools of the brand's reds run together across the whole band — the front page's panel. Made for the coral; a red glow on the dark ground, a blush on the light.
 
 ```tsx
 import { Background, Typography } from '@deriv-com/dds-marketing'
 
+// brand — the front page
+<Background tone="brand" pattern="mesh">
+  <Typography variant="h3">Trade the markets that move you</Typography>
+</Background>
+
 // dark
-<Background tone="dark" pattern="grid">
+<Background tone="dark" pattern="mesh">
   <Typography variant="h3">Trade the markets that move you</Typography>
 </Background>
 
 // light
-<Background tone="light" pattern="grid">
+<Background tone="light" pattern="mesh">
+  <Typography variant="h3">Trade the markets that move you</Typography>
+</Background>
+```
+
+### The mesh moving
+
+The pools flow at rest and lean towards the pointer. With `animated` off they rest until the pointer is over the band; `interactive` off, they ignore it.
+
+```tsx
+import { Background, Typography } from '@deriv-com/dds-marketing'
+
+// animated and interactive — the default
+<Background pattern="mesh" tone="brand">
   <Typography variant="h3">Trade the markets that move you</Typography>
 </Background>
 
+// animated={false} — rests, flows under the pointer
+<Background pattern="mesh" animated={false} tone="brand">
+  <Typography variant="h3">Trade the markets that move you</Typography>
+</Background>
+
+// interactive={false} — moves at rest, ignores the pointer
+<Background pattern="mesh" interactive={false} tone="brand">
+  <Typography variant="h3">Trade the markets that move you</Typography>
+</Background>
+```
+
+### The rule grid
+
+Hairlines rising from a bloom at the foot, brighter where they cross, with short dashes of light running along a few. The pointer lights the lines around it.
+
+```tsx
+import { Background, Typography } from '@deriv-com/dds-marketing'
+
 // brand
 <Background tone="brand" pattern="grid">
   <Typography variant="h3">Trade the markets that move you</Typography>
 </Background>
+
+// dark
+<Background tone="dark" pattern="grid">
+  <Typography variant="h3">Trade the markets that move you</Typography>
+</Background>
+
+// light
+<Background tone="light" pattern="grid">
+  <Typography variant="h3">Trade the markets that move you</Typography>
+</Background>
 ```
 
 ### The grid moving
@@ -326,11 +375,16 @@ import { Background, Typography } from '@deriv-com/dds-marketing'
 
 ### The rings
 
-Hairline circles spreading out from the middle of the foot, on every ground. As quiet as the grid, but round; the rings brighten around the pointer.
+Hairline circles spreading from a bloom at the foot, arcs of light travelling round each at its own pace. The pointer lights the rings around it.
 
 ```tsx
 import { Background, Typography } from '@deriv-com/dds-marketing'
 
+// brand
+<Background tone="brand" pattern="rings">
+  <Typography variant="h3">Trade the markets that move you</Typography>
+</Background>
+
 // dark
 <Background tone="dark" pattern="rings">
   <Typography variant="h3">Trade the markets that move you</Typography>
@@ -340,11 +394,6 @@ import { Background, Typography } from '@deriv-com/dds-marketing'
 <Background tone="light" pattern="rings">
   <Typography variant="h3">Trade the markets that move you</Typography>
 </Background>
-
-// brand
-<Background tone="brand" pattern="rings">
-  <Typography variant="h3">Trade the markets that move you</Typography>
-</Background>
 ```
 
 ### The rings moving

package/.llm/components/bottomsheet.md

@@ -173,6 +173,11 @@ Use when: Always. The sheet does not close itself, so this is the only way out
 The second argument is which of the four ways out the reader took, for a page that treats an abandoned task differently from a finished one. It is only ever called with false today — a sheet is opened by whatever opens it, never by itself — and the boolean is first anyway, so the shape does not have to change if that ever stops being true.
 Never for: Doing the task. This fires when the sheet is being left, including when it is being left unanswered — commit from the actions in the footer, where the reader pressed something that says what it does.
 
+### closeLabel — `string`
+
+Use when: The accessible name of the close button. Without it the button is named "Close" and the title; pass it to translate that with the page.
+Never for: Visible text. The button draws a glyph, and this is what a screen reader hears for it.
+
 Also accepts everything from `HTMLAttributes<HTMLDivElement>`.
 
 ## Accessibility