@deriv-com/dds-marketing 1.1.2 → 1.2.0

package/.llm/components/scenescroll.md

@@ -2,6 +2,10 @@
 
 # SceneScroll
 
+Two full-screen photo scenes that cross-fade as the reader scrolls.
+
+## Why it is built this way
+
 A full-screen section of two scenes — each a photograph filling the band with a heading and a line over it — that change over as the reader scrolls: the screen holds still while the second photograph dissolves in over the first and the first scene's words give way to the second's. Two states of one thing told by the scroll — day and night, before and after, the market open and the market that never closes.
 
 The reference design's DayNightTransition, made generic: nothing in it is about the time of day. The change-over is scrubbed by the scroll itself and run by the stylesheet alone — the section is a tall track whose view timeline drives the dissolve while a screen-tall stage stays pinned inside it — so it runs forward as the reader scrolls down, back as they scroll up, and stands still while the page does. Without a scroll timeline, for a reader who asked for less motion, and before any script, the two scenes are simply drawn one after the other, each a screen tall, with both sets of words readable.
@@ -14,28 +18,29 @@ The reference design's DayNightTransition, made generic: nothing in it is about
 
 ## Do not use
 
+- The two scenes are one claim with one word changed — "Trade all day", "Trade all night" → `SceneScrollWord`
 - There is one photograph, not two states of something → `ImageBanner`
 - Three or more things to show, each with a picture → `FeatureScroll`
 - The page's opening band, with an action to take → `LandingHero`
 - One statement on its own, revealed as the reader scrolls → `TextScroll`
 - Words a reader must not miss — a price, a disclaimer, a legal line. Each scene's words are on screen for only part of the pass
 - Two of these on one page, or one beside another pinned section. Each holds the screen for a screen and a half of scrolling, and two make the page feel stuck
-- Photographs with words in them. The words are the headings and the lines, where a screen reader and a translation reach them; a photograph saying them is under a scrim and cropped to fill
-- An action. There is no slot for one: a button that dissolves away as the reader scrolls is one they cannot rely on, so the page's next section carries it
+- Photographs with words in them. The words are the headings and the lines, where a screen reader and a translation reach them; a photograph saying them is cropped to fill and has the scene's words set over it
+- Words over a busy or mid-toned stretch of photograph. Nothing lies between the words and the photograph, so the photograph has to leave the words a calm, light or dark stretch to sit on, and the scene's ink has to name which
 
 ## Anatomy
 
 SceneScroll renders 9 elements. A token binding names the part it applies to.
 
-- `root` — `<section>`, class `dds-scenescroll`. The section, a region named by the first scene's title. Where the scroll drives the change-over it is the track: two and a half screens tall, and the view timeline the dissolve runs down. Elsewhere it is as tall as the two scenes it holds. It paints color.bg.brand-strong under the photographs and sets color.fg.on-brand-strong, white in both modes, for the words over them. It clips with `overflow: clip` if it ever clips, never `hidden`, which would make it a scroll container and freeze the timeline and the pin.
+- `root` — `<section>`, class `dds-scenescroll`. The section, a region named by the first scene's title. Where the scroll drives the change-over it is the track: two and a half screens tall, and the view timeline the dissolve runs down. Elsewhere it is as tall as the two scenes it holds. It paints color.bg.brand-strong under the photographs, which shows only before they load, and sets color.fg.on-brand-strong, white in both modes, as the ink a scene takes unless it names another. It clips with `overflow: clip` if it ever clips, never `hidden`, which would make it a scroll container and freeze the timeline and the pin.
 - `stage` — `<div>`, class `dds-scenescroll__stage`. What the reader sees. Where the scroll drives the change-over it is a screen tall and pinned to the top of the window for the length of the track, with both scenes stacked in its one cell. Elsewhere it is a column of the two scenes, one after the other with nothing between them.
-- `scene` — `<div>`, class `dds-scenescroll__scene`. One scene, drawn twice — `data-scene` says which. A screen tall, the photograph behind and the words over it, inset by the section's air and the page's gutter. Isolated, so the second scene's photograph covers the first scene's words as well as its photograph as it dissolves in.
-- `media` — `<div>`, class `dds-scenescroll__media`. The scene's photograph, filling the scene edge to edge and square-cornered, under a scrim of color.bg.overlay so the white words keep AA contrast over any photograph, a pale one included. The second scene's photograph and its scrim dissolve in together over the first's.
+- `scene` — `<div>`, class `dds-scenescroll__scene`. One scene, drawn twice — `data-scene` says which. A screen tall, the photograph behind and the words over it, inset by the section's air and the page's gutter. Isolated, so the second scene's photograph covers the first scene's words as well as its photograph as it dissolves in. Its ink is the one the scene names — color.fg.on-media-light, near-black in both modes, over a light photograph; color.fg.on-brand-strong, white, over a dark one.
+- `media` — `<div>`, class `dds-scenescroll__media`. The scene's photograph, filling the scene edge to edge and square-cornered, with nothing laid over it: the words sit straight on the photograph, in the ink the scene names for it. The second scene's photograph dissolves in over the first's.
 - `image` — `<img>`, class `dds-scenescroll__image`. The photograph, drawn from the scene's `image` and cropped to fill the scene. Its `alt` is the scene's own: empty for a photograph that is decoration, which most are here.
-- `content` — `<div>`, class `dds-scenescroll__content`. The scene's words — its title and the line under it — over the photograph, held to the heading group's measure. At the top of the stage and at the start below 62rem, under the room a navigation bar takes; centred across and down from 62rem — the reference design's arrangement, at its 992px. Where the scroll drives the change-over the first scene's words fade out and then the second scene's fade in, in the same place; both are in the DOM and read in order the whole time, and neither is ever hidden from assistive technology.
+- `content` — `<div>`, class `dds-scenescroll__content`. The scene's words — its title and the line under it — over the photograph, held to the heading group's measure. At the start on every screen, held to the heading group's measure — and from 62rem to half the stage, whichever is narrower — and to the page's content column, so the far side of the photograph is left to its subject: at the top of the stage below 62rem, under the room a navigation bar takes, and centred down the stage from 62rem — the reference design's arrangement, at its 992px. Where the scroll drives the change-over the first scene's words fade out and then the second scene's fade in, in the same place; both are in the DOM and read in order the whole time, and neither is ever hidden from assistive technology.
 - `title` — `<h2>`, class `dds-scenescroll__title`. The scene's title. The first scene's is at `headingLevel` and names the section; the second's is one level under it. Both drawn at the size `headingLevel` names, font.h2 or font.h1.
 - `description` — `<p>`, class `dds-scenescroll__description`. The line under a scene's title, at the large body step and the description measure. Drawn only for a scene that has one.
-- `link` — `<div>`, class `dds-scenescroll__link`. The section's way on, right under the words. While the scenes change over, both scenes' words share one area of the stage, as tall as the taller of them, and the link is the row under it — under the text on every screen, and still while the text changes. At the top of the stage with the words below 62rem, at the start; centred with them from 62rem. In the plain fallback, where the scenes stack, it follows the second. Rendered only when `link` is set.
+- `action` — `<div>`, class `dds-scenescroll__action`. The section's one thing to do, right under the words. While the scenes change over, both scenes' words share one area of the stage, as tall as the taller of them, and the action is the row under it — under the text on every screen, and still while the text changes. At the start with the words on every screen: at the top of the stage below 62rem, centred down it with them from 62rem. In the plain fallback, where the scenes stack, it follows the second. Rendered only when `action` is set.
 
 Apply these classes from the generated `sceneScrollParts` constant rather than writing the strings by hand.
 
@@ -56,19 +61,19 @@ Never for: Making a mid-page section look like a hero. h1 is the page's heading,
 
 ### first — `data` `SceneScrollScene` **Required.**
 
-Use when: Always. The scene the section opens on: a title in a few words, a line under it where the title needs one, and the photograph filling the band behind them. Its title names the section, so it is the one to write as the section's heading. Give the photograph's width and height; `alt` empty unless it shows something the words do not.
+Use when: Always. The scene the section opens on: a title in a few words, a line under it where the title needs one, and the photograph filling the band behind them. Its title names the section, so it is the one to write as the section's heading. Give its `ink` — `dark` over a light photograph, `light` over a dark one — and the photograph's width and height; `alt` empty unless it shows something the words do not.
 Never for: A scene that says the same as the second with a different picture. The change-over is the argument; two scenes that agree have nothing to change between.
 
 ### second — `data` `SceneScrollScene` **Required.**
 
-Use when: Always. The scene the section changes over to, in the same shape as the first. A title of about the same length as the first, so the words change in place rather than jumping, and a photograph of the same composition where there is one, so the dissolve reads as one place changing rather than a cut.
+Use when: Always. The scene the section changes over to, in the same shape as the first. A title of about the same length as the first, so the words change in place rather than jumping, and a photograph of the same composition where there is one, so the dissolve reads as one place changing rather than a cut. Its `ink` is its own, so a daylight first scene in dark words can change over to a night one in white.
 Never for: A continuation of the first scene's sentence. A reader who arrives by heading, or who scrolls past fast, reads each title on its own.
 
-### link — `node`
+### action — `node`
 
-Accepts: Link
-Use when: A way on for the reader who wants more — "See trading hours", "Learn more". A standalone Link under the words, and it stays put through the change-over: it belongs to the section rather than to either scene, so it never fades while the reader is reaching for it.
-Never for: A button, or a different link per scene. One way on for the section; something to press that changed under the pointer would be the one thing a reader could not rely on.
+Accepts: Button, Link
+Use when: One thing for the reader to do or a way on — "Trade now", "See trading hours" — under the words. It belongs to the section rather than to either scene, so it holds still through the change-over and never fades while the reader is reaching for it. A primary Button, or a standalone Link at its brand tone: either reads over both photographs, where a Link taking the ink around it would take the band's white over a light photograph.
+Never for: Two actions, or a different one per scene. One thing to do for the section; something to press that changed under the pointer would be the one thing a reader could not rely on.
 
 ## Accessibility
 
@@ -78,7 +83,7 @@ Guaranteed by the component. Write none of it by hand: the ids these attributes
 - `Tab` — Moves past the section. Nothing in it is operable — the scenes are read, not used — so there is nothing here to land on.
 - The section is a region named by the first scene's title, through aria-labelledby, so a reader can jump to it and past it. Named by a heading already on the page rather than a hidden label of its own, so what is announced is what is shown
 - Both scenes' words are in the DOM, in order — the first scene's title and line, then the second's — whatever the scroll has faded. The visual change-over never hides either scene's words from assistive technology, never removes them, and never re-orders them
-- The words over the photographs keep AA contrast whatever the photograph: each scene's photograph sits under a scrim of color.bg.overlay, and the words are white in both modes, so a pale photograph is darkened rather than trusted to be dark
+- The words over each photograph are drawn in the ink its scene names, near-black over a light photograph and white over a dark one, and the author answers for AA contrast against the part of the photograph they sit on. Nothing lies between the two, so no check here can see the pair; the scene's ink is what a reviewer reads
 - Without a scroll timeline, for a reader who asked for less motion, and before any script, nothing is faded and nothing is pinned: the two scenes are drawn one after the other, each with its words at full strength
 - Each photograph's alt is the one its scene was given — empty for a photograph that is decoration
 
@@ -98,6 +103,12 @@ What this is not about is every row of controls. A set of filter chips, a pagina
   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 page has at most one patterned band, between its hero and its closing call to action** — A patterned ground — the halftone, the aurora, the mesh, the grid or the rings — is what makes a band the one a reader stops at, and it only works by being the exception. So a page has at most one, placed between its hero and its closing call to action; the hero's and the call to action's own patterns are theirs and do not count, and the band never goes on either of them.
+
+The pattern is the band's first layer, under its content and over nothing. A block that can carry one says so with its own `background` prop — FeatureCards, Stats, TestimonialRow and LogoRows — and draws it there; a section built by hand places a Background with nothing in it as its first child. Never wrap a block in a Background: the block paints its own ground over the pattern and hides it.
+
+Only a band whose content is stacked can carry one. Every pattern rises from the band's foot, so the band needs a heading over what it introduces, centred, with the foot left open. A band whose content runs side by side — words beside a picture, a split, columns reaching the foot — puts the glow behind the picture or under the words; it stays on its flat ground.
+  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.
@@ -159,6 +170,10 @@ Two things genuinely have no logical form and are not covered by this. A CSS gra
 
 ## Anti-examples
 
+❌ SceneScroll for: The two scenes are one claim with one word changed — "Trade all day", "Trade all night"
+   SceneScrollWord holds the claim still and changes the one word; here each scene's words are whole and give way to each other
+   → use `SceneScrollWord` instead.
+
 ❌ SceneScroll for: There is one photograph, not two states of something
    One photograph with words over it is a cover banner; a scene that never changes over is a section a screen tall for nothing
    → use `ImageBanner` instead.
@@ -168,7 +183,7 @@ Two things genuinely have no logical form and are not covered by this. A CSS gra
    → use `FeatureScroll` instead.
 
 ❌ SceneScroll for: The page's opening band, with an action to take
-   An opening band asks for something under its claim; this has no action, and a call to action dissolving away under the scroll is one a reader cannot rely on
+   An opening band leads into the rest of the page from its claim; this holds the screen for a screen and a half of scrolling before the page goes on, which an opening band asking for something cannot afford
    → use `LandingHero` instead.
 
 ❌ SceneScroll for: One statement on its own, revealed as the reader scrolls
@@ -178,9 +193,9 @@ Two things genuinely have no logical form and are not covered by this. A CSS gra
 ## Example
 
 ```tsx
-import { SceneScroll } from '@deriv-com/dds-marketing'
+import { SceneScroll, Button } from '@deriv-com/dds-marketing'
 
-<SceneScroll first={{"title":"Your trading desk, at the open","description":"Charts, prices and positions in one place, ready when the market is.","image":{"src":"/sample-band-ground.svg","alt":"","width":1600,"height":900}}} second={{"title":"And the same desk, at the close","description":"Every trade of the day in one view, with nothing left to reconcile.","image":{"src":"/sample-stop-blue.svg","alt":"","width":800,"height":600}}} />
+<SceneScroll first={{"title":"Your trading desk, at the open","description":"Charts, prices and positions in one place, ready when the market is.","image":{"src":"/sample-banner-art.svg","alt":"","width":1200,"height":300},"ink":"dark"}} second={{"title":"And the same desk, at the close","description":"Every trade of the day in one view, with nothing left to reconcile.","image":{"src":"/sample-stop-blue.svg","alt":"","width":800,"height":600},"ink":"light"}} action={<Button href="/signup">Trade now</Button>} />
 ```
 
 ## In use
@@ -193,10 +208,10 @@ h2 under the page's own heading, or h1 when the section opens a campaign page. T
 import { SceneScroll } from '@deriv-com/dds-marketing'
 
 // h2 — a section of the page, the default
-<SceneScroll first={{"title":"Your trading desk, at the open","description":"Charts, prices and positions in one place, ready when the market is.","image":{"src":"/sample-band-ground.svg","alt":"","width":1600,"height":900}}} second={{"title":"And the same desk, at the close","description":"Every trade of the day in one view, with nothing left to reconcile.","image":{"src":"/sample-stop-blue.svg","alt":"","width":800,"height":600}}} />
+<SceneScroll first={{"title":"Your trading desk, at the open","description":"Charts, prices and positions in one place, ready when the market is.","image":{"src":"/sample-banner-art.svg","alt":"","width":1200,"height":300},"ink":"dark"}} second={{"title":"And the same desk, at the close","description":"Every trade of the day in one view, with nothing left to reconcile.","image":{"src":"/sample-stop-blue.svg","alt":"","width":800,"height":600},"ink":"light"}} />
 
 // h1 — the opening band of a campaign page
-<SceneScroll headingLevel="h1" first={{"title":"Your trading desk, at the open","description":"Charts, prices and positions in one place, ready when the market is.","image":{"src":"/sample-band-ground.svg","alt":"","width":1600,"height":900}}} second={{"title":"And the same desk, at the close","description":"Every trade of the day in one view, with nothing left to reconcile.","image":{"src":"/sample-stop-blue.svg","alt":"","width":800,"height":600}}} />
+<SceneScroll headingLevel="h1" first={{"title":"Your trading desk, at the open","description":"Charts, prices and positions in one place, ready when the market is.","image":{"src":"/sample-banner-art.svg","alt":"","width":1200,"height":300},"ink":"dark"}} second={{"title":"And the same desk, at the close","description":"Every trade of the day in one view, with nothing left to reconcile.","image":{"src":"/sample-stop-blue.svg","alt":"","width":800,"height":600},"ink":"light"}} />
 ```
 
 ### Two states of one thing
@@ -207,16 +222,19 @@ Day and night is one pair among many. Photographs of the same composition make t
 import { SceneScroll } from '@deriv-com/dds-marketing'
 
 // Markets that never close
-<SceneScroll first={{"title":"Markets that never close","description":"Trade forex, stocks and commodities from the first bell to the last.","image":{"src":"/sample-band-ground.svg","alt":"","width":1600,"height":900}}} second={{"title":"And trade on through the night","description":"Derived indices run every hour of every day, weekends included.","image":{"src":"/sample-stop-purple.svg","alt":"","width":800,"height":600}}} />
+<SceneScroll first={{"title":"Markets that never close","description":"Trade forex, stocks and commodities from the first bell to the last.","image":{"src":"/sample-banner-art.svg","alt":"","width":1200,"height":300},"ink":"dark"}} second={{"title":"And trade on through the night","description":"Derived indices run every hour of every day, weekends included.","image":{"src":"/sample-stop-blue.svg","alt":"","width":800,"height":600},"ink":"light"}} />
 ```
 
-### With a way on
+### With something to do
 
-An optional link under the words. It holds still through the change-over, so it is under whichever scene's text is showing.
+One action for the section, under the words: a primary Button, or a Link at its brand tone. It belongs to neither scene, so it holds still while the words change over it.
 
 ```tsx
-import { Link, SceneScroll } from '@deriv-com/dds-marketing'
+import { Button, Link, SceneScroll } from '@deriv-com/dds-marketing'
+
+// A button under the words
+<SceneScroll first={{"title":"Your trading desk, at the open","description":"Charts, prices and positions in one place, ready when the market is.","image":{"src":"/sample-banner-art.svg","alt":"","width":1200,"height":300},"ink":"dark"}} second={{"title":"And the same desk, at the close","description":"Every trade of the day in one view, with nothing left to reconcile.","image":{"src":"/sample-stop-blue.svg","alt":"","width":800,"height":600},"ink":"light"}} action={<Button href="/signup">Trade now</Button>} />
 
 // A link under the words
-<SceneScroll first={{"title":"Your trading desk, at the open","description":"Charts, prices and positions in one place, ready when the market is.","image":{"src":"/sample-band-ground.svg","alt":"","width":1600,"height":900}}} second={{"title":"And the same desk, at the close","description":"Every trade of the day in one view, with nothing left to reconcile.","image":{"src":"/sample-stop-blue.svg","alt":"","width":800,"height":600}}} link={<Link href="/trading-hours" tone="inherit">See trading hours</Link>} />
+<SceneScroll first={{"title":"Your trading desk, at the open","description":"Charts, prices and positions in one place, ready when the market is.","image":{"src":"/sample-banner-art.svg","alt":"","width":1200,"height":300},"ink":"dark"}} second={{"title":"And the same desk, at the close","description":"Every trade of the day in one view, with nothing left to reconcile.","image":{"src":"/sample-stop-blue.svg","alt":"","width":800,"height":600},"ink":"light"}} action={<Link href="/hours">See trading hours</Link>} />
 ```

package/.llm/components/scenescrollword.md

@@ -0,0 +1,267 @@
+<!-- GENERATED from scene-scroll-word.contract.json. Do not edit. -->
+
+# SceneScrollWord
+
+Two full-screen photo scenes that cross-fade as the reader scrolls, under one title whose last word changes.
+
+## Why it is built this way
+
+SceneScroll's change-over told as one claim with one word changed — "Trade all day", then "Trade all night". The screen holds still while the second photograph dissolves in over the first; the words around the changing one stay where they are, the word gives way to the second scene's, and the line under it changes with it. The reference design's inline day-and-night headline, made generic.
+
+The same track, pin and view timeline as SceneScroll, run by the stylesheet alone, forward as the reader scrolls down and back as they scroll up. Each scene still has a heading of its own, the shared words and its own word together, so the outline, a screen reader and a reader with no scroll timeline get both whole: without one, for a reader who asked for less motion, and before any script, the two scenes are drawn one after the other, each a screen tall, "Trade all day" and then "Trade all night".
+
+The changing word can fall anywhere in the title, because where it falls is the language's decision rather than the block's: last in "Trade all day", first in Japanese "一日中取引", before the verb in German "Den ganzen Tag handeln". So the shared words are given as what comes before the word and what comes after it, either or both, and the block adds no space of its own — a language written without spaces between words has none to add, and one that has them writes them into the strings.
+
+## Use when
+
+- Two states of one thing that one claim covers with one word changed — trade all day and all night, markets open and markets closed, before and after
+- One immersive moment on a product or campaign page, where the claim is the argument and the two photographs show its two halves
+- The opening band of a campaign page built around that claim, at headingLevel h1
+
+## Do not use
+
+- The two scenes say different things, each with a title of its own → `SceneScroll`
+- The two scenes are one claim with one word changed — "Trade all day", "Trade all night" → `SceneScrollWord`
+- There is one photograph, not two states of something → `ImageBanner`
+- Three or more things to show, each with a picture → `FeatureScroll`
+- The page's opening band, with an action to take → `LandingHero`
+- One statement on its own, revealed as the reader scrolls → `TextScroll`
+- Two titles that only happen to share words. The shared words have to be a claim both words complete; one that reads as a sentence with the second word bolted on is two scenes' worth of title, which SceneScroll draws
+- Words a reader must not miss — a price, a disclaimer, a legal line. Each scene's words are on screen for only part of the pass
+- Two of these on one page, or one beside another pinned section. Each holds the screen for a screen and a half of scrolling, and two make the page feel stuck
+- Photographs with words in them. The words are the headings and the lines, where a screen reader and a translation reach them; a photograph saying them is cropped to fill and has the scene's words set over it
+- Words over a busy or mid-toned stretch of photograph. Nothing lies between the words and the photograph, so the photograph has to leave the words a calm, light or dark stretch to sit on, and the scene's ink has to name which
+
+## Anatomy
+
+SceneScrollWord renders 12 elements. A token binding names the part it applies to.
+
+- `root` — `<section>`, class `dds-scenescrollword`. The section, a region named by the first scene's title. Where the scroll drives the change-over it is the track: two and a half screens tall, and the view timeline the dissolve runs down. Elsewhere it is as tall as the two scenes it holds. It paints color.bg.brand-strong under the photographs, which shows only before they load, and sets color.fg.on-brand-strong, white in both modes, as the ink a scene takes unless it names another. It clips with `overflow: clip` if it ever clips, never `hidden`, which would make it a scroll container and freeze the timeline and the pin.
+- `stage` — `<div>`, class `dds-scenescrollword__stage`. What the reader sees. Where the scroll drives the change-over it is a screen tall and pinned to the top of the window for the length of the track, with both scenes stacked in its one cell. Elsewhere it is a column of the two scenes, one after the other with nothing between them.
+- `scene` — `<div>`, class `dds-scenescrollword__scene`. One scene, drawn twice — `data-scene` says which. A screen tall, the photograph behind and the words over it, inset by the section's air and the page's gutter. Isolated, so the second scene's photograph covers the first scene's words as well as its photograph as it dissolves in. Its ink is the one the scene names — color.fg.on-media-light, near-black in both modes, over a light photograph; color.fg.on-brand-strong, white, over a dark one.
+- `media` — `<div>`, class `dds-scenescrollword__media`. The scene's photograph, filling the scene edge to edge and square-cornered, with nothing laid over it: the words sit straight on the photograph, in the ink the scene names for it. The second scene's photograph dissolves in over the first's.
+- `image` — `<img>`, class `dds-scenescrollword__image`. The photograph, drawn from the scene's `image` and cropped to fill the scene. Its `alt` is the scene's own: empty for a photograph that is decoration, which most are here.
+- `content` — `<div>`, class `dds-scenescrollword__content`. The scene's words — its title and the line under it — over the photograph. At the start on every screen, held to the heading group's measure — and from 62rem to half the stage, whichever is narrower — and to the page's content column, so the far side of the photograph is left to its subject: at the top of the stage below 62rem, under the room a navigation bar takes, and centred down the stage from 62rem. Where the scroll drives the change-over both scenes' words lie in one place, the second heading exactly over the first; the first scene's line fades out, the words cross, and the second scene's line fades in. Both are in the DOM and read in order the whole time.
+- `title` — `<h2>`, class `dds-scenescrollword__title`. The scene's title: the shared words before the changing one, the scene's word, and the shared words after it, so each scene's heading is whole. The first scene's is at `headingLevel` and names the section; the second's is one level under it. Both drawn at the size `headingLevel` names, font.h2 or font.h1.
+- `before` — `<span>`, class `dds-scenescrollword__before`. The shared words before the changing one, as written, with no space added. The first scene's hold still through the change-over; the second scene's lie exactly under them and are never drawn while the scroll drives the change-over, so they read as one set of words that never moves. Kept in the DOM and never hidden from assistive technology, so the second heading is read whole. Rendered only when `titleBefore` is set.
+- `word` — `<span>`, class `dds-scenescrollword__word`. The slot the scene's word sits in, between the shared words: as wide as the wider of the two scenes' words, because the other scene's word sits in the same cell undrawn and kept from assistive technology. So both titles wrap alike, and the second's word lands exactly where the first's was. Where the scroll drives the change-over the first scene's word fades out as the second's fades in, in the middle of the pass while neither line is showing, so the claim changes by one word while the photographs dissolve under it.
+- `after` — `<span>`, class `dds-scenescrollword__after`. The shared words after the changing one, as written, with no space added. Drawn and kept still as the words before it are: the first scene's hold, the second scene's lie under them undrawn. The word's slot is as wide as the wider word, so these never move as one word replaces the other. Rendered only when `titleAfter` is set.
+- `description` — `<p>`, class `dds-scenescrollword__description`. The line under a scene's title, at the large body step and the description measure. Drawn only for a scene that has one.
+- `action` — `<div>`, class `dds-scenescrollword__action`. The section's one thing to do, right under the words. While the scenes change over, both scenes' words share one area of the stage, as tall as the taller of them, and the action is the row under it — under the text on every screen, and still while the text changes. At the start with the words on every screen: at the top of the stage below 62rem, centred down it with them from 62rem. In the plain fallback, where the scenes stack, it follows the second. Rendered only when `action` is set.
+
+Apply these classes from the generated `sceneScrollWordParts` constant rather than writing the strings by hand.
+
+## Composition
+
+- Takes no children. Everything it renders comes from props
+- Never contains: `SceneScrollWord`, `SceneScroll`, `FeatureScroll`, `LandingHero`, `ProductHero`, `PageHeader`, `Footer`, `Navbar` — in children or in any prop that takes a node
+
+## Props
+
+### headingLevel — `h2` | `h1` (default `h2`)
+
+- `h2` — The default: the section sits under the page's own h1, and the scenes' titles are drawn at font.h2
+- `h1` — The section opens a campaign page and the first scene's title is the page's heading — the reference design's hero use. Drawn at font.h1, the opening band's size
+
+Use when: Where the first scene's title sits in the page's outline. The second scene's title takes the level under it — h2 under an h1, h3 under an h2 — because it is the second half of the section the first one names, not a section of its own. Both are drawn at the same size, the one this names: a scene is a screen of photograph, and an h2 sized as a card title would be lost on it.
+Never for: Making a mid-page section look like a hero. h1 is the page's heading, and a page has one.
+
+### titleBefore — `string`
+
+Use when: The words of the title that come before the changing word, the same in both scenes — "Trade all ", for "Trade all day" and "Trade all night". With the space that separates them from the word written in, where the language uses one: the block adds none. Give this, `titleAfter`, or both; a title with neither is SceneScroll's.
+Never for: Words that change between the scenes. Where the grammar makes a shared word agree with the changing one — Spanish "todo el día" and "toda la noche" — the agreeing words are part of each scene's `word`, not of what is shared.
+
+### titleAfter — `string`
+
+Use when: The words of the title that come after the changing word, the same in both scenes — " handeln", for German "Den ganzen Tag handeln" and "Die ganze Nacht handeln"; "取引" for Japanese "一日中取引" and "夜通し取引", with no space. With the space written in where the language uses one: the block adds none.
+Never for: Punctuation alone. A heading takes no full stop, and a mark after the word holds still while the word changes before it, which reads as the mark belonging to neither.
+
+### first — `data` `SceneScrollWordScene` **Required.**
+
+Use when: Always. The scene the section opens on: the word that completes the title, a line under it where the title needs one, and the photograph filling the band behind them. With the shared words around it, it names the section. Give its `ink` — `dark` over a light photograph, `light` over a dark one — and the photograph's width and height; `alt` empty unless it shows something the words do not.
+Never for: A word that does not complete the shared words. Read together they are the heading; a word that only makes sense beside the other scene's is not one.
+
+### second — `data` `SceneScrollWordScene` **Required.**
+
+Use when: Always. The scene the section changes over to, in the same shape as the first. A word of about the same length as the first, so the words after it do not move as one replaces the other, and a photograph of the same composition where there is one, so the dissolve reads as one place changing rather than a cut. Its `ink` is its own, so a daylight first scene in dark words can change over to a night one in white.
+Never for: The first scene's word again with a different picture. The changed word is the argument; two scenes that agree have nothing to change between.
+
+### action — `node`
+
+Accepts: Button, Link
+Use when: One thing for the reader to do or a way on — "Trade now", "See trading hours" — under the words. It belongs to the section rather than to either scene, so it holds still through the change-over and never fades while the reader is reaching for it. A primary Button, or a standalone Link at its brand tone: either reads over both photographs, where a Link taking the ink around it would take the band's white over a light photograph.
+Never for: Two actions, or a different one per scene. One thing to do for the section; something to press that changed under the pointer would be the one thing a reader could not rely on.
+
+## 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` — Moves past the section. Nothing in it is operable — the scenes are read, not used — so there is nothing here to land on.
+- The section is a region named by the first scene's title, through aria-labelledby, so a reader can jump to it and past it. Named by a heading already on the page rather than a hidden label of its own, so what is announced is what is shown
+- Both scenes' headings are in the DOM, in order and whole — the shared words with the first scene's word, then with the second's — with each line after its heading, whatever the scroll has faded. The visual change-over never hides either from assistive technology, never removes them, and never re-orders them. The only thing kept from assistive technology is the other scene's word sitting undrawn in the word's slot, a duplicate of a heading read in full
+- The words over each photograph are drawn in the ink its scene names, near-black over a light photograph and white over a dark one, and the author answers for AA contrast against the part of the photograph they sit on. Nothing lies between the two, so no check here can see the pair; the scene's ink is what a reviewer reads
+- Without a scroll timeline, for a reader who asked for less motion, and before any script, nothing is faded and nothing is pinned: the two scenes are drawn one after the other, each with its words at full strength
+- Each photograph's alt is the one its scene was given — empty for a photograph that is decoration
+
+## 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 page has at most one patterned band, between its hero and its closing call to action** — A patterned ground — the halftone, the aurora, the mesh, the grid or the rings — is what makes a band the one a reader stops at, and it only works by being the exception. So a page has at most one, placed between its hero and its closing call to action; the hero's and the call to action's own patterns are theirs and do not count, and the band never goes on either of them.
+
+The pattern is the band's first layer, under its content and over nothing. A block that can carry one says so with its own `background` prop — FeatureCards, Stats, TestimonialRow and LogoRows — and draws it there; a section built by hand places a Background with nothing in it as its first child. Never wrap a block in a Background: the block paints its own ground over the pattern and hides it.
+
+Only a band whose content is stacked can carry one. Every pattern rises from the band's foot, so the band needs a heading over what it introduces, centred, with the foot left open. A band whose content runs side by side — words beside a picture, a split, columns reaching the foot — puts the glow behind the picture or under the words; it stays on its flat ground.
+  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
+
+❌ SceneScrollWord for: The two scenes say different things, each with a title of its own
+   SceneScroll gives way from one scene's whole words to the other's; here the claim holds and only its last word changes
+   → use `SceneScroll` instead.
+
+❌ SceneScrollWord for: The two scenes are one claim with one word changed — "Trade all day", "Trade all night"
+   SceneScrollWord holds the claim still and changes the one word; here each scene's words are whole and give way to each other
+   → use `SceneScrollWord` instead.
+
+❌ SceneScrollWord for: There is one photograph, not two states of something
+   One photograph with words over it is a cover banner; a scene that never changes over is a section a screen tall for nothing
+   → use `ImageBanner` instead.
+
+❌ SceneScrollWord for: Three or more things to show, each with a picture
+   FeatureScroll pins a picture beside a list of stops a reader moves through; this is exactly two full-screen scenes and the change between them
+   → use `FeatureScroll` instead.
+
+❌ SceneScrollWord for: The page's opening band, with an action to take
+   An opening band leads into the rest of the page from its claim; this holds the screen for a screen and a half of scrolling before the page goes on, which an opening band asking for something cannot afford
+   → use `LandingHero` instead.
+
+❌ SceneScrollWord for: One statement on its own, revealed as the reader scrolls
+   A sentence brightening word by word is the moment there; here the photographs are
+   → use `TextScroll` instead.
+
+## Example
+
+```tsx
+import { SceneScrollWord, Button } from '@deriv-com/dds-marketing'
+
+<SceneScrollWord titleBefore="Trade all " first={{"word":"day","description":"Forex, stocks and commodities, from the first bell to the last.","image":{"src":"/sample-banner-art.svg","alt":"","width":1200,"height":300},"ink":"dark"}} second={{"word":"night","description":"Derived indices run every hour of every day, weekends included.","image":{"src":"/sample-stop-blue.svg","alt":"","width":800,"height":600},"ink":"light"}} action={<Button href="/signup">Trade now</Button>} />
+```
+
+## In use
+
+### Where it sits in the page's outline
+
+h2 under the page's own heading, or h1 when the section opens a campaign page. The second title is always one level under the first.
+
+```tsx
+import { SceneScrollWord } from '@deriv-com/dds-marketing'
+
+// h2 — a section of the page, the default
+<SceneScrollWord titleBefore="Trade all " first={{"word":"day","description":"Forex, stocks and commodities, from the first bell to the last.","image":{"src":"/sample-banner-art.svg","alt":"","width":1200,"height":300},"ink":"dark"}} second={{"word":"night","description":"Derived indices run every hour of every day, weekends included.","image":{"src":"/sample-stop-blue.svg","alt":"","width":800,"height":600},"ink":"light"}} />
+
+// h1 — the opening band of a campaign page
+<SceneScrollWord titleBefore="Trade all " first={{"word":"day","description":"Forex, stocks and commodities, from the first bell to the last.","image":{"src":"/sample-banner-art.svg","alt":"","width":1200,"height":300},"ink":"dark"}} second={{"word":"night","description":"Derived indices run every hour of every day, weekends included.","image":{"src":"/sample-stop-blue.svg","alt":"","width":800,"height":600},"ink":"light"}} headingLevel="h1" />
+```
+
+### Where the word falls
+
+The changing word sits where the language puts it. Shared words go before it, after it, or both, with any spaces written in.
+
+```tsx
+import { SceneScrollWord } from '@deriv-com/dds-marketing'
+
+// Before the word — English
+<SceneScrollWord titleBefore="Trade all " first={{"word":"day","description":"Forex, stocks and commodities, from the first bell to the last.","image":{"src":"/sample-banner-art.svg","alt":"","width":1200,"height":300},"ink":"dark"}} second={{"word":"night","description":"Derived indices run every hour of every day, weekends included.","image":{"src":"/sample-stop-blue.svg","alt":"","width":800,"height":600},"ink":"light"}} />
+
+// After the word — German, article inside the word
+<SceneScrollWord titleAfter=" handeln" first={{"word":"Den ganzen Tag","description":"Devisen, Aktien und Rohstoffe, von der ersten bis zur letzten Glocke.","image":{"src":"/sample-banner-art.svg","alt":"","width":1200,"height":300},"ink":"dark"}} second={{"word":"Die ganze Nacht","description":"Derived Indices laufen rund um die Uhr, auch am Wochenende.","image":{"src":"/sample-stop-blue.svg","alt":"","width":800,"height":600},"ink":"light"}} />
+
+// After the word, no space — Japanese
+<SceneScrollWord titleAfter="取引" first={{"word":"一日中","description":"FX、株式、商品を、取引開始から終了まで。","image":{"src":"/sample-banner-art.svg","alt":"","width":1200,"height":300},"ink":"dark"}} second={{"word":"夜通し","description":"デリバティブ指数は週末も含め、24時間いつでも。","image":{"src":"/sample-stop-blue.svg","alt":"","width":800,"height":600},"ink":"light"}} />
+```
+
+### With something to do
+
+One action for the section, under the words: a primary Button, or a Link at its brand tone. It belongs to neither scene, so it holds still while the words change over it.
+
+```tsx
+import { Button, Link, SceneScrollWord } from '@deriv-com/dds-marketing'
+
+// A button under the words
+<SceneScrollWord titleBefore="Trade all " first={{"word":"day","description":"Forex, stocks and commodities, from the first bell to the last.","image":{"src":"/sample-banner-art.svg","alt":"","width":1200,"height":300},"ink":"dark"}} second={{"word":"night","description":"Derived indices run every hour of every day, weekends included.","image":{"src":"/sample-stop-blue.svg","alt":"","width":800,"height":600},"ink":"light"}} action={<Button href="/signup">Trade now</Button>} />
+
+// A link under the words
+<SceneScrollWord titleBefore="Trade all " first={{"word":"day","description":"Forex, stocks and commodities, from the first bell to the last.","image":{"src":"/sample-banner-art.svg","alt":"","width":1200,"height":300},"ink":"dark"}} second={{"word":"night","description":"Derived indices run every hour of every day, weekends included.","image":{"src":"/sample-stop-blue.svg","alt":"","width":800,"height":600},"ink":"light"}} action={<Link href="/hours">See trading hours</Link>} />
+```

package/.llm/components/scroller.md

@@ -2,6 +2,10 @@
 
 # Scroller
 
+Lays items out in a horizontally scrolling rail.
+
+## Why it is built this way
+
 A rail, and one measure between the things on it. It draws nothing — no ground, no edge, no padding — and owns one decision: that a set too long for the space stays on one line and the reader moves along it.
 
 It is the third answer to a line that has run out of room, and the only one that keeps the order intact. A Row squashes its items or lets them fall onto a second line where nothing aligns; a Grid puts them in tracks and gives up the sequence; this keeps them where they were put and hands the reader the overflow. Where the order is the content — a timeline, a set of steps, a run of testimonials, a rail of logos — that is the difference between a component that shows the set and one that rearranges it.
@@ -135,6 +139,12 @@ What this is not about is every row of controls. A set of filter chips, a pagina
   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 page has at most one patterned band, between its hero and its closing call to action** — A patterned ground — the halftone, the aurora, the mesh, the grid or the rings — is what makes a band the one a reader stops at, and it only works by being the exception. So a page has at most one, placed between its hero and its closing call to action; the hero's and the call to action's own patterns are theirs and do not count, and the band never goes on either of them.
+
+The pattern is the band's first layer, under its content and over nothing. A block that can carry one says so with its own `background` prop — FeatureCards, Stats, TestimonialRow and LogoRows — and draws it there; a section built by hand places a Background with nothing in it as its first child. Never wrap a block in a Background: the block paints its own ground over the pattern and hides it.
+
+Only a band whose content is stacked can carry one. Every pattern rises from the band's foot, so the band needs a heading over what it introduces, centred, with the foot left open. A band whose content runs side by side — words beside a picture, a split, columns reaching the foot — puts the glow behind the picture or under the words; it stays on its flat ground.
+  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.

package/.llm/components/searchinput.md

@@ -2,6 +2,10 @@
 
 # SearchInput
 
+A field for searching a help centre, blog or directory.
+
+## Why it is built this way
+
 A query a visitor types to find something the page did not put in front of them — a help centre, a blog or docs index, a directory of markets. It reports the query and nothing else: what gets searched, how, and what an empty result says all belong to the page, because a field that decided any of that would be wrong for the next list.
 
 It is its own component rather than a TextInput with a magnifier in it, and the two things that make it one are the gesture and the escape. A search commits — on Enter, or as each keystroke filters — where a field in a form waits for a submit button that belongs to the form. And Escape clears it, which no other field here does, because a query is a thing a reader abandons rather than corrects.
@@ -135,6 +139,12 @@ What this is not about is every row of controls. A set of filter chips, a pagina
   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 page has at most one patterned band, between its hero and its closing call to action** — A patterned ground — the halftone, the aurora, the mesh, the grid or the rings — is what makes a band the one a reader stops at, and it only works by being the exception. So a page has at most one, placed between its hero and its closing call to action; the hero's and the call to action's own patterns are theirs and do not count, and the band never goes on either of them.
+
+The pattern is the band's first layer, under its content and over nothing. A block that can carry one says so with its own `background` prop — FeatureCards, Stats, TestimonialRow and LogoRows — and draws it there; a section built by hand places a Background with nothing in it as its first child. Never wrap a block in a Background: the block paints its own ground over the pattern and hides it.
+
+Only a band whose content is stacked can carry one. Every pattern rises from the band's foot, so the band needs a heading over what it introduces, centred, with the foot left open. A band whose content runs side by side — words beside a picture, a split, columns reaching the foot — puts the glow behind the picture or under the words; it stays on its flat ground.
+  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.