@voqalize/avatar 0.4.4 → 0.5.1

package/src/face-myna.js

@@ -1,786 +0,0 @@
-/**
- * Avatar: "myna".
- *
- * The third line-art character, authored against a user-supplied reference
- * asset (a raster illustration): a young contemporary Indian woman — wavy
- * shoulder-length dark hair with paper highlight slashes, orange hoop
- * earrings, a white crew tee under an open overshirt. Hand-authored geometry
- * with the reference on screen; nothing is traced. Same idiom as peep and
- * wren — no strokes anywhere, every mark a filled taper — and the same
- * 30-channel contract underneath.
- *
- * What is deliberately different from the siblings, and why:
- * - THE HAIR IS A HORSESHOE, NOT A CLOUD. One closed loop: wavy outer
- *   silhouette down to pointed lock tips IN FRONT of both shoulders, then the
- *   inner edge back up the face, joined across the forehead by the fringe
- *   sweep. The enclosed "hole" (face, neck, chest V) opens downward between
- *   the two lock groups, so the region needs no fill-rule tricks.
- * - THE EARS SIT ON THE HAIR. In the reference the mass runs behind the ears,
- *   so ears and hoops are drawn in the hair layer, after the mass. The
- *   head-layer underlay (same loop at head parallax) backfills the ±3-unit
- *   slide between the two layers under yaw — same insurance as peep's, doing
- *   one extra job here.
- * - THE OVERSHIRT IS TWO PAPER PANELS over a paper tee, distinguished only by
- *   ink outline — no fill colour on the garment. The tee still runs
- *   edge-to-edge under both panels and everything overshoots the frame.
- * - THE MOUTH HAS LIPS. The proven aperture-contour model, but the ring's
- *   width profile carries a cupid's-bow dip at the top centre and a fuller
- *   lower lip. (An under-lip shadow mark existed through v7; it was deleted —
- *   a mark inside the deformation zone either rides every open perfectly or
- *   it is a defect, and its ink went to the lip band instead.)
- *
- * v8 calibration note: the expressive gains here (brow travel, corner lift,
- * squint, lip weights, the lid mapping) are authored against a 130 px
- * DOWNSAMPLE of the rest/emotion renders, not the close-up — this face ships
- * in a call tile. Slightly theatrical at full size is correct.
- *
- * Like peep, there is no drawn jaw line to drop, so `jaw` has nothing to
- * move — same documented character decision.
- */
-
-import { clamp, lerp } from './params.js';
-import {
-  f, createFaceShell, faceApi, poseTransforms, pairedTeeth,
-} from './face-core.js';
-import { taper, taperRing, region } from './line-art.js';
-import { viewBoxForHead } from './camera.js';
-
-export const THEME = {
-  ink: '#191919',
-  paper: '#ffffff',
-  // The hoop earrings' orange. ~9% duskier than the asset's sample: at tile
-  // size the sampled value out-shouted the face.
-  accent: '#dc8432',
-  mouthIn: '#191919',
-  teeth: '#ffffff',
-  tongue: '#8d7f79',
-};
-
-// --- reshape ------------------------------------------------------------
-// Same move as peep, for the same reason: built next to the Canvas2D
-// professional identities, this head read tall and narrow — 285 units wide in
-// a 907-unit 4:3 frame — where the canvas avatars were calibrated at call-tile
-// size from the start. One static, non-animated transform on the head cluster
-// only (skull, hair, features — never neck or body), pivoted at CHIN_Y so the
-// chin's own silhouette point does not move and the jaw-to-collar join needs
-// no rework. Every landmark constant below still describes the original art
-// space. See face-peep.js for the full derivation, including why "broader"
-// here means a tighter 4:3 crop rather than a wider aspect.
-const CX = 380;
-const CHIN_Y = 572;
-const RESHAPE_SX = 1.10;
-const RESHAPE_SY = 0.88;
-const RESHAPE = `translate(${CX} ${CHIN_Y}) scale(${RESHAPE_SX} ${RESHAPE_SY}) translate(${-CX} ${-CHIN_Y})`;
-
-// The outer wave of hair, rather than HEAD_TOP under it, is the crown a viewer
-// measures. The chin is the lowest point of the resting jaw silhouette.
-// crownY is the reshaped crown: CHIN_Y + (96 − CHIN_Y) × RESHAPE_SY, worked out
-// by hand because the camera reads landmarks, not the transform above it.
-const FRAME = { centerX: CX, crownY: 153, chinY: CHIN_Y };
-const VB = viewBoxForHead(FRAME);
-
-export const META = {
-  viewBox: { x: VB.x, y: VB.y, w: VB.w, h: VB.h },
-  // The original crop (298, 436, 164, 100) with its corners carried through
-  // RESHAPE — a camera change does not move a path, but the reshape is
-  // geometry rather than camera, so the inspection crop has to follow it.
-  mouthCrop: { x: 290, y: 452, w: 180, h: 88 },
-};
-
-// --- landmarks --------------------------------------------------------------
-// These are the NATIVE art space and RESHAPE never enters them: it is a
-// wrapper on the rendered group, so `apply()` and every number below still
-// mean what they meant before it existed.
-const HEAD_TOP = 150;
-
-// rx widened from 15 — the bean was very nearly round, and cutting an almond
-// aperture from it without an absurd lid line needed the same headroom peep's
-// eye needed. See the eyes section.
-const EYE = { y: 386, dx: 56, rx: 17, ry: 16 };
-const MOUTH = { cx: CX, cy: 492 };
-const MOUTH_APERTURE = 36;
-
-// Brows: bold, long and clearly arched, with real air between them — the
-// reference's brows are its strongest single mark. The rest shape is a
-// gentle taper-arc: v7's outer third dropped 17 units in 15 and over a
-// resting smile the kink composited into a smirk that curdled across a long
-// session. The kink is still available — as a browAngle POSE.
-const BROW_L = [[CX - 22, 340], [CX - 40, 327], [CX - 60, 320], [CX - 76, 319],
-                [CX - 88, 322], [CX - 97, 327], [CX - 103, 332]];
-// Near-mirrored: the right arch rides 1 unit higher (personality, small
-// enough to survive the mirror-flip levelness check, which is judged on the
-// eye lines). Anything bigger read as a baked-in head tilt — the mixer's
-// headRoll adds on top of the art and nothing can subtract a drawn lean.
-const BROW_R = [[CX + 22, 340], [CX + 40, 326], [CX + 60, 319], [CX + 76, 318],
-                [CX + 88, 321], [CX + 97, 327], [CX + 103, 332]];
-
-// ---------------------------------------------------------------------------
-// Static art: head.
-//
-// Same three-segment jaw rule as every head here, but the runs are the softest
-// of the three rigs: rounded gonion, full cheek, small chin pad slightly off
-// the midline. Chin at 568 against wren's 572 and peep's 597 — the shorter
-// lower face is most of the "mid twenties" read.
-// ---------------------------------------------------------------------------
-const HEAD = [
-  [CX, HEAD_TOP],
-  [452, 149], [518, 206], [522, 288],
-  [525, 338], [522, 386], [518, 424],
-  [516, 456], [510, 482], [498, 508],
-  [484, 530], [452, 556], [422, 566],
-  [404, 572], [350, 571], [332, 563],
-  [306, 551], [282, 529], [266, 505],
-  [252, 479], [246, 453], [250, 423],
-  [244, 385], [240, 337], [243, 287],
-  [247, 205], [308, 148], [CX, HEAD_TOP],
-];
-// Lighter than wren's ring by ~20% — the reference line is confident but not
-// woodcut. Heavy low on the jaw, nothing at the crown (under hair).
-//
-// Scaled to ~0.65 of the original profile ([3, 6, 9.5, 12, 13, 11.5, 9, 6, 4,
-// 3]) when RESHAPE landed: the same taper shape, but a line rather than a rope
-// once the head is drawn broader and the frame tighter around it.
-const HEAD_W = [2, 4, 6, 8, 8.5, 7.5, 6, 4, 2.5, 2];
-
-// Neck: the shared truncated-cone construction, slim; fused into the head
-// layer and overshot past every neckline for the standard parallax reasons.
-const NECK_FILL =
-  'M344 512C336 570 330 620 328 680L328 790L434 790L434 680C432 620 426 570 418 512Z';
-const NECK_L = [[344, 530], [338, 580], [333, 634], [331, 720]];
-const NECK_R = [[418, 528], [424, 578], [429, 632], [431, 720]];
-const JAW_UNDER = [[340, 558], [356, 582], [404, 584], [422, 556]];
-
-// ---------------------------------------------------------------------------
-// Static art: hair — the wavy lob.
-//
-// One closed horseshoe (see header). Waves are S-curves on the outer edge and
-// pointed tips at the bottom; the fringe sweeps from a part left of centre
-// down across the forehead, bottoming out above the right brow. Interior
-// highlight slashes are separate paper marks on top of the mass.
-// ---------------------------------------------------------------------------
-const HAIR = [
-  // left lock tip (in front of the shoulder), then one curl and a smooth
-  // outer edge going up — deep or repeated scallops here read as braids,
-  // which is what sank the first two drafts
-  [252, 712],
-  [224, 706], [204, 684], [198, 654],
-  [186, 622], [178, 588], [182, 554],
-  [172, 520], [168, 480], [176, 444],
-  [170, 404], [174, 360], [186, 320],
-  [188, 270], [210, 226], [240, 196],
-  [258, 158], [296, 130], [336, 114],
-  [366, 100], [420, 96], [458, 112],
-  [498, 116], [534, 142], [548, 178],
-  // outer right, down with the same gentle waves
-  [574, 202], [586, 248], [580, 288],
-  [594, 326], [594, 382], [582, 418],
-  [586, 452], [578, 498], [566, 528],
-  [574, 560], [566, 600], [550, 626],
-  [556, 648], [540, 674], [516, 686],
-  [508, 700], [484, 704], [470, 690],
-  // right front lock: inner boundary climbing over the chest to the jaw
-  [458, 670], [454, 642], [462, 612],
-  [478, 588], [500, 564], [518, 540],
-  // right inner edge up the face side to the temple
-  [530, 502], [530, 454], [532, 410],
-  [532, 382], [524, 358], [510, 346],
-  // the fringe hairline, right to left: a HIGH arc — the reference forehead
-  // is largely open (brow-to-hairline reads close to brow-to-mouth). The
-  // right descent is short, a strand tip dipping to just above the right
-  // frame corner; v6 let the arc sag to the brows and the whole upper face
-  // went dark
-  [500, 344], [494, 322], [488, 298],
-  [478, 268], [462, 250], [448, 240],
-  [436, 236], [427, 242], [416, 238],
-  // …the cleft dips at the part (right of centre, as drawn), then the left
-  // branch is one long high swoop to the temple — it must clear the left
-  // brow tail entirely, so the descent happens outboard of x≈276
-  [398, 236], [376, 242], [352, 252],
-  [328, 264], [308, 278], [294, 292],
-  [284, 306], [276, 320], [270, 332],
-  [264, 344], [258, 356], [256, 366],
-  // left inner edge: down the face side, then slanting AWAY from the neck —
-  // an edge that hugs the neck makes the side mass a rope
-  [250, 392], [244, 432], [248, 478],
-  [252, 516], [242, 554], [230, 592],
-  [224, 622], [220, 654], [228, 684],
-  [236, 700], [244, 708], [252, 712],
-];
-const HAIR_D = region(HAIR);
-
-// Paper highlight slashes: crescent cuts following the flow. These, plus the
-// wavy silhouette, are the contemporary read; without them the mass is a
-// helmet whatever its outline does.
-// v8: fewer, bolder. Eight slivers flickered during nods — the most-played
-// motion in the product — so each side-fall keeps two large crescents instead
-// of three ticks, and every survivor gained width. The silhouette, not the
-// interior, is the identity feature.
-const SHINE = [
-  { p: [[330, 150], [300, 168], [280, 196], [272, 228]], w: [2, 7, 2] },
-  // the long echo of the fringe sweep — the reference's most prominent slash;
-  // it lives in the band ABOVE the hairline, tight to the sweep's direction
-  { p: [[468, 220], [446, 196], [416, 176], [382, 166]], w: [1.5, 5.5, 1.5] },
-  { p: [[196, 336], [187, 380], [187, 424], [196, 462]], w: [2, 8, 2] },
-  { p: [[204, 522], [196, 574], [206, 648], [242, 700]], w: [1.5, 7, 1.5] },
-  { p: [[574, 330], [583, 372], [583, 414], [574, 448]], w: [2, 8, 2] },
-  { p: [[550, 538], [552, 592], [530, 652], [482, 684]], w: [1.5, 7, 1.5] },
-];
-
-// Ears and hoops: painted ON the hair mass (see header). Small C-shapes; the
-// hoop is a thin accent ring hanging from the lobe — the reference's one
-// piece of jewellery.
-const EAR_L = [[246, 404], [224, 396], [212, 418], [216, 446], [222, 468], [240, 474], [250, 464]];
-const EAR_R = [[514, 404], [536, 396], [548, 418], [544, 446], [538, 468], [520, 474], [510, 464]];
-const EAR_L_IN = [[230, 420], [220, 430], [221, 446], [228, 455]];
-const EAR_R_IN = [[530, 420], [540, 430], [539, 446], [532, 455]];
-
-const K = 0.5523;
-function circlePts(cx, cy, r) {
-  const k = r * K;
-  return [
-    [cx + r, cy], [cx + r, cy + k], [cx + k, cy + r], [cx, cy + r],
-    [cx - k, cy + r], [cx - r, cy + k], [cx - r, cy], [cx - r, cy - k],
-    [cx - k, cy - r], [cx, cy - r], [cx + k, cy - r], [cx + r, cy - k],
-    [cx + r, cy],
-  ];
-}
-const HOOP_L = taperRing(circlePts(236, 488, 12), [4.5, 5, 4.5]);
-const HOOP_R = taperRing(circlePts(524, 488, 12), [4.5, 5, 4.5]);
-
-/** The nose: a tiny soft hook, tip only. It sits lower than v6 (the
- *  reference's nose mark tops out at ~55% of eye→mouth, not 39%). */
-const NOSE_D = taper(
-  [[CX + 3, 439], [CX - 2, 448], [CX - 6, 456], [CX - 4, 462],
-   [CX + 1, 465], [CX + 7, 463], [CX + 10, 458]],
-  [1.5, 5.5, 2]
-);
-
-// ---------------------------------------------------------------------------
-// Static art: torso — a white crew tee under an open overshirt, both paper,
-// distinguished only by ink outline.
-//
-// The tee is edge-to-edge under everything; the two overshirt panels sit on
-// top, their inner edges making the open V. Both panels keep the house
-// two-run shoulder: outer arm edge, hard acromion turn, near-horizontal
-// trapezius shelf. Everything overshoots the frame.
-// ---------------------------------------------------------------------------
-const TEE = [
-  [288, 960],
-  [290, 860], [292, 760], [296, 688],
-  [300, 656], [318, 636], [352, 626],
-  [364, 623], [396, 623], [408, 625],
-  [442, 634], [460, 658], [464, 688],
-  [468, 760], [470, 860], [472, 960],
-  [410, 960], [348, 960], [288, 960],
-];
-const TEE_NECK = [[318, 640], [338, 652], [358, 658], [380, 660],
-                  [402, 657], [422, 650], [440, 638]];
-
-// The shoulder line sits high — chin to trapezius is ~75 units. v1 had it 60
-// lower and the neck read as a column; the reference's neck is short.
-const PANEL_L = [
-  [302, 960],
-  [306, 890], [308, 810], [314, 742],
-  [318, 710], [322, 676], [318, 638],
-  [298, 634], [264, 644], [232, 656],
-  [186, 672], [132, 702], [106, 748],
-  [72, 814], [60, 882], [58, 960],
-  [180, 960], [240, 960], [302, 960],
-];
-const PANEL_R = [
-  [454, 960],
-  [450, 890], [448, 810], [442, 742],
-  [438, 710], [434, 676], [438, 636],
-  [458, 632], [492, 642], [524, 654],
-  [570, 670], [624, 700], [650, 746],
-  [684, 812], [696, 882], [698, 960],
-  [620, 960], [540, 960], [454, 960],
-];
-
-// Ink runs for the panels: outer silhouette from under the collar over the
-// shoulder and down the arm; inner run down the open front edge.
-const PANEL_L_OUT = [
-  [318, 638],
-  [298, 634], [264, 644], [232, 656],
-  [186, 672], [132, 702], [106, 748],
-  [72, 814], [60, 882], [58, 950],
-];
-const PANEL_L_IN = [[318, 638], [322, 676], [318, 710], [314, 742],
-                    [308, 810], [306, 890], [304, 950]];
-const PANEL_R_OUT = [
-  [438, 636],
-  [458, 632], [492, 642], [524, 654],
-  [570, 670], [624, 700], [650, 746],
-  [684, 812], [696, 882], [698, 950],
-];
-const PANEL_R_IN = [[438, 636], [434, 676], [438, 710], [442, 742],
-                    [448, 810], [450, 890], [452, 950]];
-const PANEL_W = [7, 8, 7, 8, 7, 6];
-
-// The collar: a down-pointing folded flap hugging each side of the neck —
-// v1's up-pointing lapel triangles read as horns. The lower vertex is a
-// single sharp point so the notch against the shoulder reads as tailoring,
-// not a blob. Not mirrored; the reference's collar is not symmetric and
-// neither is any worn one.
-const COLLAR_L = [[338, 600], [316, 604], [298, 624], [288, 648],
-                  [296, 672], [310, 686], [324, 662],
-                  [330, 640], [335, 618], [338, 600]];
-const COLLAR_R = [[424, 598], [446, 602], [464, 622], [474, 646],
-                  [466, 670], [452, 684], [438, 660],
-                  [432, 638], [427, 616], [424, 598]];
-
-// Folds where the cloth is actually pulled, tapered to nothing at both ends:
-// out of the collar roll toward each armpit, and off the shoulder seam down
-// the sleeve. Few and curved — v6 scattered short parallel ticks and they
-// read as scratches on the garment, not drape.
-const CREASES = [
-  { p: [[300, 692], [284, 722], [272, 756], [268, 788]], w: [1, 4.5, 1] },
-  { p: [[150, 700], [168, 742], [178, 788], [180, 830]], w: [1.5, 5, 1.5] },
-  { p: [[118, 742], [134, 776], [143, 810], [144, 838]], w: [1, 3.5, 1] },
-  { p: [[464, 690], [478, 722], [488, 758], [491, 792]], w: [1, 4.5, 1] },
-  { p: [[610, 698], [594, 740], [585, 786], [586, 828]], w: [1.5, 5, 1.5] },
-  { p: [[644, 752], [630, 786], [621, 816], [619, 842]], w: [1, 3.5, 1] },
-];
-
-// ---------------------------------------------------------------------------
-// Layers: the house four, same order, same roles.
-// ---------------------------------------------------------------------------
-const PARALLAX = { head: 1.0, body: 0.1, features: 1.22, hair: 1.12 };
-const LAYERS = ['head', 'body', 'features', 'hair'];
-const PIVOT = { x: CX, y: 700 };
-
-const POSE = {
-  leanTravel: 23, leanPivot: { x: PIVOT.x, y: 560 },
-  shrugLift: 30, shrugTiltDeg: 1.7, shrugPivot: { x: PIVOT.x, y: 800 },
-  // Under peep's 28 for the same reason as wren: a big hair mass at full
-  // parallax slides like a wig.
-  yawPx: 26, pitchPx: 16,
-  pivot: PIVOT,
-  breathSwell: 0.008, swellPivot: { x: CX, y: 950 },
-  turnPx: 16,
-  layers: LAYERS, parallax: PARALLAX,
-  torsoLayers: ['body'],
-  units: 1,
-};
-
-// ---------------------------------------------------------------------------
-// Generators: mouth — the proven aperture-contour model with myna's lips.
-//
-// See face-peep.js for the full derivation (aperture-not-centreline, the 0.18
-// ramp, 3:1 downward opening, the 0.75 cubic solve). Myna's additions: a
-// 9-stop ring profile whose top centre dips (the cupid's bow) and whose lower
-// centre swells (the fuller lip), and an under-lip shadow drawn off the
-// contour bottom in apply().
-// ---------------------------------------------------------------------------
-// v8: both bands up ~15% from v7 — at a 130 px tile the closed smile was
-// merely *present*; the floor raise is what makes it read as smiling there.
-const LIP_UP = 10.5; // upper lip band thickness at its fullest
-const LIP_LO = 15;   // lower lip band at centre
-
-function mouthGeometry(p) {
-  const cx = MOUTH.cx;
-  const cy = MOUTH.cy;
-  const open = clamp(p.mouthOpen);
-  const round = clamp(p.mouthRound);
-  const tuck = clamp(p.mouthTuck);
-  const press = clamp(p.mouthPress);
-
-  const w = (28 + clamp(p.mouthWidth) * 30) * (1 - 0.36 * round);
-
-  // Press changes SHAPE, not just weight. A bilabial closure (viseme A,
-  // press .55) must render as a pressed band — corners neutralized, bow
-  // scallop ironed flat, thickness nearly kept — or A is indistinguishable
-  // from idle X and lipsync reads mushy however good the timing is. The
-  // pressed band is the anchor viewers use to verify sync.
-  const t = 1 - 0.18 * press;
-  // Nine stops around the ring: s=0 left corner, 0.25 top centre, 0.5 right
-  // corner, 0.75 bottom centre. The dip at 0.25 is the bow notch (a close-up
-  // detail, deliberately light); press irons it up to band thickness.
-  const bow = lerp(5, LIP_UP * 0.92, clamp(press * 1.6));
-  const lo = LIP_LO * t * (1 + 0.35 * tuck);
-  const profile = [
-    3 * t, LIP_UP * t, bow * t, LIP_UP * t, 3.5 * t,
-    11.5 * t, lo, 11.5 * t, 3 * t,
-  ];
-  const halfUp = (LIP_UP * t) / 2;
-  const halfLo = lo / 2;
-
-  const h = open * MOUTH_APERTURE;
-  const k = clamp(open / 0.18);
-
-  // Corner travel 28 (was 23): the tile swallows less. Press straightens the
-  // band by pulling the corner lift toward zero.
-  const cLift = 1 - 0.85 * press;
-  const yL = cy - (1.5 + p.mouthCornerL * 28) * cLift;
-  const yR = cy - (1.5 + p.mouthCornerR * 28) * cLift;
-
-  const apTop = cy - h * 0.25;
-  let apBot = cy + h * 0.75;
-  if (tuck > 0) apBot = Math.max(apTop + 6, apBot - tuck * (h * 0.6 + 4));
-
-  const cornerMid = (yL + yR) / 8;
-  const topY = (apTop - k * halfUp - cornerMid) / 0.75;
-  const botY = (apBot + k * halfLo - cornerMid) / 0.75;
-
-  const contour = [
-    [cx - w, yL],
-    [cx - w * 0.55, topY], [cx + w * 0.55, topY], [cx + w, yR],
-    [cx + w * 0.55, botY], [cx - w * 0.55, botY], [cx - w, yL],
-  ];
-
-  const innerTop = cornerMid + 0.75 * topY + halfUp;
-  const innerBot = cornerMid + 0.75 * botY - halfLo;
-
-  return { contour, profile, cx, cy, w, h, topY, botY, innerTop, innerBot, open, tuck };
-}
-
-/** peep's dental-arch teeth, myna's width factors. */
-function teethPath(m, amt, lower) {
-  if (amt < 0.01) return '';
-  const gap = m.innerBot - m.innerTop;
-  if (gap < 2) return '';
-  const tw = m.w * (lower ? 0.6 : 0.76);
-  const cap = lower ? 0.5 : 0.5 + 0.35 * m.tuck;
-  const th = Math.min(amt * (lower ? 13 : 20), gap * cap);
-
-  if (lower) {
-    const base = m.innerBot + 8;
-    const edge = m.innerBot - th;
-    const end = m.innerBot - th * 0.35;
-    return (
-      `M${f(m.cx - tw)} ${f(base)}L${f(m.cx + tw)} ${f(base)}` +
-      `L${f(m.cx + tw * 0.92)} ${f(end)}` +
-      `Q${f(m.cx)} ${f(2 * edge - end)} ${f(m.cx - tw * 0.92)} ${f(end)}Z`
-    );
-  }
-  const top = m.innerTop - 8;
-  const edge = m.innerTop + th;
-  const end = m.innerTop + th * 0.35;
-  return (
-    `M${f(m.cx - tw)} ${f(top)}L${f(m.cx + tw)} ${f(top)}` +
-    `L${f(m.cx + tw * 0.92)} ${f(end)}` +
-    `Q${f(m.cx)} ${f(2 * edge - end)} ${f(m.cx - tw * 0.92)} ${f(end)}Z`
-  );
-}
-
-// Eyes: the lid-line-plus-iris model, ported from face-peep.js. It reads
-// better against the "big and dark pupils" brief than the old whole-bean
-// translation did, not worse — the reference's pupils get a real iris that
-// carries the gaze while the lash and lid line hold still. See face-peep.js
-// for the two wrong passes (paper-on-ink, then a too-small pupil that read as
-// a startled target) that are not recoverable from the numbers alone.
-
-/** Top-lid height for a given lid value — shared by bean and lash so they can
- *  never disagree. The mapping is a 0.6-power, not linear: the mixer's rest
- *  lid is 0.12 (params.js: real neutral eyes graze the iris) and on beans
- *  this big a linear map spent only 7% of the travel by then — rest rendered
- *  as a wide-eyed stare, a long-session comfort failure. The power curve
- *  spends ~28% by 0.12 (a visible flat on the bean top: attentive-relaxed,
- *  not sleepy) while a true wide (curious sends lid −0.10 → clamps to ~0)
- *  still rounds fully open, and closed is unchanged. */
-function lidTopY(cy, lid) {
-  return lerp(cy - EYE.ry * 1.05, cy - EYE.ry * 0.42, Math.pow(clamp(lid), 0.6));
-}
-
-// A cubic whose two controls share a y reaches only 3/4 of the way to it.
-// Everything below works in DRAWN extents and divides that back out, so an
-// inset of n units is n units on screen — see face-peep.js for why the inset
-// below cannot be proportional instead.
-const BULGE = 0.75;
-
-/** Two cubics between (cx±rx, cyMid), bulging to yTop and yBot; tilt about cy. */
-function lensPath(cx, cy, g, tiltDeg) {
-  if (!g) return '';
-  const a = (tiltDeg * Math.PI) / 180;
-  const ca = Math.cos(a), sa = Math.sin(a);
-  const R = (x, y) => {
-    const dx = x - cx, dy = y - cy;
-    return `${f(cx + dx * ca - dy * sa)} ${f(cy + dx * sa + dy * ca)}`;
-  };
-  const ctlTop = g.cyMid + (g.yTop - g.cyMid) / BULGE;
-  const ctlBot = g.cyMid + (g.yBot - g.cyMid) / BULGE;
-  return (
-    `M${R(cx - g.rx, g.cyMid)}` +
-    `C${R(cx - g.rx * 0.5, ctlTop)} ${R(cx + g.rx * 0.5, ctlTop)} ${R(cx + g.rx, g.cyMid)}` +
-    `C${R(cx + g.rx * 0.5, ctlBot)} ${R(cx - g.rx * 0.5, ctlBot)} ${R(cx - g.rx, g.cyMid)}Z`
-  );
-}
-
-/** The lid silhouette, in drawn extents. Same power-curve lid mapping and
- *  squint gain (.95: the smile-squint is most of what separates warm from
- *  neutral at tile size) as before the eye was opened out. */
-function eyeGeom(cy, lid, squint) {
-  const L = clamp(lid);
-  const ctlTop = lidTopY(cy, lid);
-  const ctlBot = lerp(cy + EYE.ry * 1.05, cy - EYE.ry * 0.05, L) - clamp(squint) * EYE.ry * 0.95;
-  return {
-    cyMid: cy,
-    rx: EYE.rx,
-    yTop: cy + BULGE * (ctlTop - cy),
-    yBot: cy + BULGE * (ctlBot - cy),
-  };
-}
-
-// The lid line, as constant distances — a proportional inset inverts the
-// moment a closing lid carries the bean's lower edge above the eye centre and
-// leaks paper out through a shut eye.
-const LASH_X = 3.0;
-const LASH_TOP = 5.5;
-const LASH_BOT = 4.5;
-
-/** The paper almond inside the lid line, or null once the lid has shut on it. */
-function apertureGeom(g) {
-  const yTop = g.yTop + LASH_TOP;
-  const yBot = g.yBot - LASH_BOT;
-  const rx = g.rx - LASH_X;
-  if (yBot - yTop < 0.5 || rx < 0.5) return null;
-  return { cyMid: (yTop + yBot) / 2, rx, yTop, yBot };
-}
-
-// Sized to fill the resting aperture's height rather than float inside it —
-// this is what "big and dark pupils" means now that the eye has a real iris
-// instead of a translating bean.
-const IRIS_R = 8.0;
-
-// Travel, native units: one corner's worth of paper. At either extreme one
-// sliver closes and the other doubles, which is the whole gaze signal.
-const IRIS_TRAVEL = { x: 4.5, y: 2.2 };
-
-/**
- * The upper lash line: lies ON the bean's top edge and ends in a small
- * outward flick at the outer corner. The body samples the bean's own top
- * cubic (controls at ±rx/2, topY, so y(u) = 3u(1−u)·(topY−cy)) rather than
- * approximating it — v6 floated a straight slash near the lens top and it
- * read as a second, angrier brow inside the glasses. Same lid value as the
- * bean, so a blink carries the lash down with the closing lid; the flick is
- * anchored at the corner, which the lid never moves.
- * `dir` is −1 for the left eye (flick outward-left), +1 for the right.
- */
-function lashPath(cx, cy, lid, dir) {
-  const topY = lidTopY(cy, lid);
-  const rx = EYE.rx;
-  const at = (u) => {
-    const v = 1 - u;
-    const x = v * v * v * -rx + 3 * v * v * u * -rx * 0.5
-            + 3 * v * u * u * rx * 0.5 + u * u * u * rx;
-    // Proud of the edge by 1.5 so the liner shows against the dark bean.
-    return [cx + dir * x, cy + 3 * v * u * (topY - cy) - 1.5];
-  };
-  const pts = [
-    at(0.3), at(0.5), at(0.7), at(0.88), at(1),
-    [cx + dir * (rx + 5), cy - 4.5],
-    [cx + dir * (rx + 9), cy - 9],
-  ];
-  return taper(pts, [2.5, 4, 3, 1.5], 6);
-}
-
-// Brows: the point-list deformation. Travel is ASYMMETRIC by design:
-// - Raises land at 20 (v7: 16) — the minimal-face lesson says small deltas
-//   vanish, and at a 130 px tile the emotion poses collapsed below this.
-// - Descent is capped at 8.5 and weighted toward the inner half (corrugator
-//   pull), so brows-down reads as concentration rather than a merged smear.
-//   What travel can't carry, thickness does: a knitted brow bulks up 30% at
-//   full descent.
-function browPath(pts, raise, angle, inner) {
-  const n = pts.length - 1;
-  const up = Math.max(0, raise);
-  const dn = Math.max(0, -raise);
-  const out = pts.map(([x, y], i) => {
-    const u = i / n;
-    return [x, y - up * 20 + dn * 8.5 * (1 - 0.45 * u)
-             - inner * 15 * (1 - u) - angle * 16 * u];
-  });
-  const wk = 1 + 0.3 * dn;
-  return taper(out, [3 * wk, 12 * wk, 4 * wk], 6);
-}
-
-// ---------------------------------------------------------------------------
-// Static markup
-// ---------------------------------------------------------------------------
-const HEAD_FILL = region(HEAD);
-const HEAD_RING = taperRing(HEAD, HEAD_W, 10);
-
-function markup(id, t) {
-  const ink = (d) => `<path d="${d}" fill="${t.ink}"/>`;
-  const paper = (d) => `<path d="${d}" fill="${t.paper}"/>`;
-  return `
-<svg id="${id}" viewBox="${VB.x} ${VB.y} ${VB.w} ${VB.h}" xmlns="http://www.w3.org/2000/svg"
-     preserveAspectRatio="xMidYMid meet" style="display:block;width:100%;height:100%">
-  <defs>
-    <clipPath id="${id}-clipMouth"><path id="${id}-clipMouthP" d=""/></clipPath>
-    <clipPath id="${id}-clipEyeL"><path id="${id}-clipEyeLP" d=""/></clipPath>
-    <clipPath id="${id}-clipEyeR"><path id="${id}-clipEyeRP" d=""/></clipPath>
-  </defs>
-
-  <!-- head and neck; hair underlay at head parallax is the anti-sliver
-       insurance AND the backfill behind the hair-layer ears (see header).
-
-       RESHAPE wraps the art INSIDE the parallax group, never the group itself:
-       poseTransforms writes the group's own transform every frame and would
-       overwrite it. Same for features and hair below. The neck stays outside
-       it — the reshape is pivoted on the chin so that join still lands. -->
-  <g id="${id}-head">
-    <path d="${NECK_FILL}" fill="${t.paper}"/>
-    ${ink(taper(NECK_L, [3, 7, 5]))}
-    ${ink(taper(NECK_R, [3, 7, 5]))}
-    <g transform="${RESHAPE}">
-      <path d="${HEAD_FILL}" fill="${t.paper}"/>
-      ${ink(HEAD_RING)}
-      ${ink(taper(JAW_UNDER, [2, 5, 2]))}
-      <path d="${HAIR_D}" fill="${t.ink}"/>
-    </g>
-  </g>
-
-  <!-- tee, then the two overshirt panels and their tailoring -->
-  <g id="${id}-body">
-    ${paper(region(TEE))}
-    ${ink(taper(TEE_NECK, [3, 5.5, 3]))}
-    <path d="${region(PANEL_L)}" fill="${t.paper}"/>
-    <path d="${region(PANEL_R)}" fill="${t.paper}"/>
-    ${ink(taper(PANEL_L_OUT, PANEL_W))}
-    ${ink(taper(PANEL_R_OUT, PANEL_W))}
-    ${ink(taper(PANEL_L_IN, [6, 7, 5]))}
-    ${ink(taper(PANEL_R_IN, [6, 7, 5]))}
-    <path d="${region(COLLAR_L)}" fill="${t.paper}"/>
-    <path d="${region(COLLAR_R)}" fill="${t.paper}"/>
-    ${ink(taperRing(COLLAR_L, [3, 4.5, 3], 6))}
-    ${ink(taperRing(COLLAR_R, [3, 4.5, 3], 6))}
-    ${CREASES.map((c) => ink(taper(c.p, c.w))).join('\n    ')}
-  </g>
-
-  <!-- features: brows, eyes+lashes, nose, mouth -->
-  <g id="${id}-features">
-    <g transform="${RESHAPE}">
-    <path id="${id}-browL" fill="${t.ink}"/>
-    <path id="${id}-browR" fill="${t.ink}"/>
-    <g id="${id}-eyes">
-      <path id="${id}-eyeL" fill="${t.ink}"/>
-      <path id="${id}-eyeR" fill="${t.ink}"/>
-      <path id="${id}-apertureL" fill="${t.paper}"/>
-      <path id="${id}-apertureR" fill="${t.paper}"/>
-      <g clip-path="url(#${id}-clipEyeL)"><circle id="${id}-irisL" fill="${t.ink}"/></g>
-      <g clip-path="url(#${id}-clipEyeR)"><circle id="${id}-irisR" fill="${t.ink}"/></g>
-      <path id="${id}-lashL" fill="${t.ink}"/>
-      <path id="${id}-lashR" fill="${t.ink}"/>
-    </g>
-    <path d="${NOSE_D}" fill="${t.ink}"/>
-    <g id="${id}-mouth">
-      <path id="${id}-mouthIn" fill="${t.mouthIn}"/>
-      <g clip-path="url(#${id}-clipMouth)">
-        <ellipse id="${id}-tongue" fill="${t.tongue}"/>
-        <path id="${id}-teeth" fill="${t.teeth}"/>
-        <path id="${id}-teethLo" fill="${t.teeth}" opacity=".85"/>
-      </g>
-      <path id="${id}-lips" fill="${t.ink}"/>
-    </g>
-    </g>
-  </g>
-
-  <!-- hair: the mass, its highlights, then ears and hoops on top -->
-  <g id="${id}-hair">
-    <g transform="${RESHAPE}">
-    <path d="${HAIR_D}" fill="${t.ink}"/>
-    ${SHINE.map((s) => paper(taper(s.p, s.w, 6))).join('\n    ')}
-    <path d="${region(EAR_L)}" fill="${t.paper}"/>
-    <path d="${region(EAR_R)}" fill="${t.paper}"/>
-    ${ink(taper(EAR_L, [3, 6, 3]))}
-    ${ink(taper(EAR_R, [3, 6, 3]))}
-    ${ink(taper(EAR_L_IN, [2, 4, 2]))}
-    ${ink(taper(EAR_R_IN, [2, 4, 2]))}
-    <path d="${HOOP_L}" fill="${t.accent}"/>
-    <path d="${HOOP_R}" fill="${t.accent}"/>
-    </g>
-  </g>
-</svg>`;
-}
-
-// ---------------------------------------------------------------------------
-// Renderer — the invariant apply() shape; only the travels and the extra lip
-// marks are myna's own.
-// ---------------------------------------------------------------------------
-let uid = 0;
-
-export function createFace(mount, theme = {}) {
-  const t = Object.assign({}, THEME, theme);
-  const id = `myna${++uid}`;
-  const { svg, $, set } = createFaceShell(mount, id, markup(id, t));
-
-  const el = {
-    head: $('head'), body: $('body'), features: $('features'), hair: $('hair'),
-    browL: $('browL'), browR: $('browR'),
-    eyeL: $('eyeL'), eyeR: $('eyeR'),
-    clipEyeL: $('clipEyeLP'), clipEyeR: $('clipEyeRP'),
-    apertureL: $('apertureL'), apertureR: $('apertureR'),
-    irisL: $('irisL'), irisR: $('irisR'),
-    lashL: $('lashL'), lashR: $('lashR'),
-    mouthIn: $('mouthIn'), lips: $('lips'),
-    clipMouth: $('clipMouthP'),
-    teeth: $('teeth'), teethLo: $('teethLo'), tongue: $('tongue'),
-  };
-
-  function apply(p) {
-    poseTransforms(p, set, el, POSE);
-
-    // The lid line holds still and the iris carries the gaze — see the eyes
-    // section. The lid follows vertical gaze downward only: looking up
-    // genuinely does widen the aperture, so there is nothing to add there.
-    const lidFollow = Math.max(0, p.pupilY) * 0.22;
-    const lidL = p.lidL + lidFollow;
-    const lidR = p.lidR + lidFollow;
-    // Both beans exactly on EYE.y: a ±1 stagger here read as head tilt at
-    // rest, and rest must be level (see BROW_R).
-    const eye = (cx, cy, lid, squint, tilt, aperture, iris, clip) => {
-      const g = eyeGeom(cy, lid, squint);
-      const ap = apertureGeom(g);
-      const apD = lensPath(cx, cy, ap, tilt);
-      set(el[aperture], 'd', apD);
-      // The iris is clipped to the APERTURE, not to the lid line, so it is
-      // cropped by the same edge the paper is — a shut lid, which has no
-      // aperture at all, takes the iris with it and needs no opacity logic.
-      set(el[clip], 'd', apD);
-      set(el[iris], 'cx', f(cx + p.pupilX * IRIS_TRAVEL.x));
-      // Anchored to the aperture's midline rather than the eye's, so a
-      // half-closed eye keeps the iris centred in the slit instead of showing
-      // a band of paper above it.
-      set(el[iris], 'cy', f((ap ? ap.cyMid : cy) + p.pupilY * IRIS_TRAVEL.y));
-      set(el[iris], 'r', f(IRIS_R));
-      return lensPath(cx, cy, g, tilt);
-    };
-    set(el.eyeL, 'd', eye(CX - EYE.dx, EYE.y, lidL, p.squintL, -3,
-                          'apertureL', 'irisL', 'clipEyeL'));
-    set(el.eyeR, 'd', eye(CX + EYE.dx, EYE.y, lidR, p.squintR, 3,
-                          'apertureR', 'irisR', 'clipEyeR'));
-    set(el.lashL, 'd', lashPath(CX - EYE.dx, EYE.y, lidL, -1));
-    set(el.lashR, 'd', lashPath(CX + EYE.dx, EYE.y, lidR, 1));
-
-    set(el.browL, 'd', browPath(BROW_L, p.browRaiseL, p.browAngleL, p.browInnerL));
-    set(el.browR, 'd', browPath(BROW_R, p.browRaiseR, p.browAngleR, p.browInnerR));
-
-    const m = mouthGeometry(p);
-    const contour = region(m.contour);
-    set(el.mouthIn, 'd', contour);
-    set(el.clipMouth, 'd', contour);
-    set(el.lips, 'd', taperRing(m.contour, m.profile, 12));
-    // Keyed off the drawn gap, not mouthOpen — grey is a rendering fault on a
-    // two-value face (peep's F bug).
-    set(el.mouthIn, 'opacity', f(clamp((m.innerBot - m.innerTop) / 3)));
-
-    pairedTeeth(p, set, el, teethPath, m);
-
-    const tg = clamp(p.tongue);
-    set(el.tongue, 'cx', f(m.cx));
-    set(el.tongue, 'cy', f(m.innerBot + 6 - tg * ((m.innerBot - m.innerTop) * 0.8 + 6)));
-    set(el.tongue, 'rx', f(m.w * 0.58));
-    set(el.tongue, 'ry', '8');
-    set(el.tongue, 'opacity', tg > 0.02 ? '1' : '0');
-  }
-
-  return faceApi(mount, svg, apply, t);
-}
-
-/**
- * This face as a **Face** record — `{ create, meta }`, the shape
- * `createAvatar({ face })` takes. Importing it costs this drawing and nothing
- * else; `src/faces.js` is the all-three table, for tooling.
- */
-export const myna = { create: createFace, meta: META };