vireglass 2.3.1 → 3.0.0

package/src/dom/style-hold.ts

@@ -0,0 +1,8 @@
+/** The inline value an element had for a property before the glass took it over, as a way back. */
+export function holdProperty(style: Pick<CSSStyleDeclaration, 'getPropertyValue' | 'setProperty' | 'removeProperty'>, name: string): () => void {
+  const saved = style.getPropertyValue(name);
+  return () => {
+    if (saved) style.setProperty(name, saved);
+    else style.removeProperty(name);
+  };
+}

package/src/law.ts

@@ -39,6 +39,46 @@ export const RIM = {
   darkEdge: 0.22,
   /** Width of the hairline, CSS px. "About a point, not a band and not a bevel" (§2). */
   widthPx: 1,
+  /**
+   * How strongly the line is drawn, by the lightness around the element. The rim is a reflection
+   * of the surroundings, so it is faint over a dark one and plain over a bright one, not white at
+   * full strength everywhere (§2, §6).
+   *
+   * MEASURED off the controls of A 2:17 (over dark video), M 2:52 (over sky) and A 2:18 (over
+   * grass), as the brightest rim bin's OKLab lightness over the surround's: 0.24 to 0.27 over dark,
+   * 0.25 over sky, 0.37 over grass. Through the DOM path onto the same backdrops these land within
+   * 0.08 of the smooth rows (docs/dom.md); a line white at full strength reads 0.70 to 0.80 over the
+   * dark frames.
+   */
+  strengthDark: 0.37,
+  strengthLight: 0.95,
+  /**
+   * The surround lightness between which the strength moves from one to the other. UNMEASURED: the
+   * two ends are, and the controls in between were not looked for.
+   */
+  ambientFrom: 0.15,
+  ambientTo: 0.45,
+  /**
+   * The share of the line's width, from the silhouette inward, that the light line leaves to the
+   * dark edge. UNMEASURED: without it the line covers the dark edge and an element over a bright
+   * flat backdrop loses the one mark that holds it there.
+   */
+  lineInset: 0.3,
+  /**
+   * The share of the peak that the line keeps along the whole contour, away from the key light.
+   * MEASURED: the reference line goes all the way round. Its dimmest bin sits 0.06 to 0.12 of
+   * lightness over the surround on the dark frames, against a peak of 0.24 to 0.27 (A 2:17).
+   */
+  contour: 0.3,
+  /** How far the line's colour is lifted from the surroundings' toward white. UNMEASURED: the
+   *  lens always had 0.75 here, and this is that figure with a name. */
+  whiteShare: 0.75,
+  /**
+   * The reflectance (`fresnelStrength`) at which the line is drawn at the strengths above: that
+   * of ordinary glass, index 1.5. A denser medium does not draw it brighter than they say; a
+   * thinner one draws it fainter. UNMEASURED.
+   */
+  reflectanceRef: 0.7,
 } as const;
 
 /** How the medium stands between the backdrop and the eye (§3). */
@@ -54,10 +94,14 @@ export const BODY = {
   busyEdge: 0.75,
   /** Fine texture the body has to stop being a window for. */
   groundSpan: 0.06,
-  /** Where the tint flips direction, by the element's AVERAGE lightness — a local threshold cuts
-   *  a diagonal step across the body on a gradient. */
-  darkSideFrom: 0.42,
-  darkSideTo: 0.58,
+  /**
+   * The spread under the element at which the ink's legibility requirement starts to bind, and the
+   * spread where it binds fully. Over a flat backdrop polarity flips before the ink drowns, so
+   * the body does not darken under a light glyph there; over texture it does. UNMEASURED: the
+   * reference shows a lighter body under a white glyph over sky, nothing about texture.
+   */
+  inkBusyFrom: 0.02,
+  inkBusyTo: 0.12,
   /** Ceiling on any single demand, so one requirement cannot make the glass opaque on its own. */
   maxDemand: 0.92,
   /**
@@ -67,6 +111,12 @@ export const BODY = {
    * separate as far as transparency allows and no further. UNMEASURED.
    */
   presenceDemand: 0.5,
+  /**
+   * The density at which the body is wholly the ink's own pole. Between `presenceDemand` and this
+   * the body moves from the light a thin body carries to the pole: a density no presence floor
+   * reaches is one the ink's legibility, or a system setting, has asked for. UNMEASURED.
+   */
+  inkPoleTo: 0.8,
 } as const;
 
 /** Shadow (§4). The density law lives in `geometry.ts`; these are its measured ends. */

package/src/lens-shader.ts

@@ -378,7 +378,11 @@ half4 main(float2 xy) {
   float rimKey = u_specular * (pow(max(rimFacing, 0.0), ${RIM.lobeExponent}.0) + ${RIM.opposingArc} * pow(max(-rimFacing, 0.0), ${RIM.lobeExponent}.0));
   // Wherever the key light doesn't fall, the face reflects its shaded surroundings — hence the
   // dark outline.
-  float3 env = refl * (0.55 + 0.45 * min(key, 1.0)) + float3(1.2 * key);
+  // The key light's glint is a reflection of the surroundings too: it is scaled by the same
+  // ambient strength as the rim line, so it is not white at full strength over a dark backdrop.
+  float rimStrength = mix(${RIM.strengthDark}, ${RIM.strengthLight},
+    smoothstep(${RIM.ambientFrom}, ${RIM.ambientTo}, vgLuma(ambient)));
+  float3 env = refl * (0.55 + 0.45 * min(key, 1.0)) + float3(1.2 * key * rimStrength / ${RIM.strengthLight});
 
   // Interference and diffraction live in the reflected ray at a grazing angle — a single hue
   // multiplier applied to the reflection, no extra samples.
@@ -454,12 +458,10 @@ half4 main(float2 xy) {
   // transparent glass by the model.
   float demand = clamp(u_legibility * 4.0, 0.0, 1.0);
 
-  // Where there's no ink, the glass tints away from the backdrop. The direction is chosen by the
-  // average lightness under the element, not the local spot's lightness: otherwise on a gradient
-  // the threshold cuts across the body as a diagonal step.
-  float darkSide = smoothstep(${BODY.darkSideFrom}, ${BODY.darkSideTo}, mean);
-  float away = mix(VG_TINT_LIGHT, VG_TINT_DARK, darkSide);
-  float tintLuma = mix(away, mix(VG_TINT_LIGHT, VG_TINT_DARK, pol), demand);
+  // The body is lighter than its surroundings whatever the glyph on it is: glass concentrates
+  // light (M 2:29), and the reference keeps a lighter body under a white glyph over sky as much as
+  // over dark. Only a requirement of the ink pulls it to the ink's own pole, below.
+  float inkPole = mix(VG_TINT_LIGHT, VG_TINT_DARK, pol);
 
   // How much medium it takes to push lightness under the ink past the threshold — locally.
   // Computed from whichever edge of the backdrop's spread is closer to the ink: a light ink
@@ -474,32 +476,22 @@ half4 main(float2 xy) {
   float needForDark = inkLo < floorDark
     ? clamp((floorDark - inkLo) / max(VG_TINT_LIGHT - inkLo, 1e-4), 0.0, ${BODY.maxDemand})
     : 0.0;
-  float needForInk = mix(needForDark, needForLight, pol) * demand;
+  // Over a flat backdrop the ink asks for nothing: polarity flips before it drowns. It is spread
+  // under the ink that the body has to answer.
+  float structured = smoothstep(${BODY.inkBusyFrom}, ${BODY.inkBusyTo}, busy);
+  float needForInk = mix(needForDark, needForLight, pol) * demand * structured;
 
   float ground = structure * u_legibility * VG_GROUND_SPAN;
   float density = max(max(u_bodyDensity, ground), needForInk);
 
   // PRESENCE (§3). Over a uniform backdrop there is nothing to refract, and an element that is
-  // only a rim honestly disappears — right for a piece of background, wrong for a control.
-  //
-  // This used to live on the rim line alone, as lit = max(rimKey, u_presence x 2), while the
-  // DOM path has always implemented it as a floor on the BODY. Two renderers, one field, two
-  // meanings. Measured on Apple's own control over a flat page (frames/verify/m-707), the body
-  // carries 16 levels of separation there and the rim 11.6 — so the body is where it belongs,
-  // and the rim's reading was the wrong one.
-  // The separation asked for is capped by the range that is left: over a backdrop at 0.96 there
-  // is no room to go 0.05 lighter. And what it is DIVIDED by is the distance to the tint's own
-  // end, not to the tint the body currently sits at — dividing by the latter explodes wherever
-  // the two are close, which is how the first version of this drove density to its ceiling at
-  // both extremes and took the window down to 7%.
-  bool lighter = local < 0.5;
-  float target = lighter ? min(local + u_presence, 1.0) : max(local - u_presence, 0.0);
-  float separation = abs(target - local);
-  float reached = abs(tintLuma - local) * density;
-  if (u_presence > 0.0 && reached < separation) {
-    float toEnd = abs((lighter ? VG_TINT_LIGHT : VG_TINT_DARK) - local);
-    density = max(density, min(separation / max(toEnd, 1e-4), ${BODY.maxDemand}));
+  // only a rim honestly disappears — right for a piece of background, wrong for a control. A floor
+  // on the density, toward light: the lift it gives is presence times the room left under the
+  // light pole, so it fades out as the room does and has no step anywhere on the scale.
+  if (u_presence > 0.0) {
+    density = max(density, min(u_presence / VG_TINT_LIGHT, ${BODY.presenceDemand}));
   }
+  float tintLuma = mix(VG_TINT_LIGHT, inkPole, max(clamp(needForInk / max(density, 1e-4), 0.0, 1.0), smoothstep(${BODY.presenceDemand}, ${BODY.inkPoleTo}, density)));
 
   // Glass has no color of its own — only the color of what's beneath it (HIG "Color").
   float3 tintHue = mix(float3(1.0), vgHue(wide * 0.5 + ambient * 0.5), u_colorPickup);
@@ -539,17 +531,18 @@ half4 main(float2 xy) {
   }
 
   // RIM LIGHT — a separate layer, a line about 1 pt wide along the silhouette (M 2:36, 11:04):
-  // brighter where the face faces the key light, weaker opposite it; where no light falls, a
-  // dark outline. This line is what holds the element's presence, not a fill on the body: over a
-  // flat backdrop a control is visible along its whole silhouette because of it.
-  float line = (1.0 - smoothstep(0.0, lineW, e)) * lens;
+  // brighter where the face faces the key light, weaker opposite it, and never absent: the line
+  // runs the whole contour. It is a reflection of the surroundings, so it is faint over a dark
+  // one and plain over a bright one (§2, §6).
+  float line = smoothstep(0.0, lineW * ${RIM.lineInset}, e) * (1.0 - smoothstep(lineW * ${RIM.lineInset}, lineW, e)) * lens;
   float outline = (1.0 - smoothstep(0.0, lineW * 0.6, e)) * lens;
-  float lit = clamp(max(rimKey * 1.4, u_presence * 2.0), 0.0, 1.0);
+  float reflectN = min(u_fresnel / ${RIM.reflectanceRef}, 1.0);
+  float lit = clamp(rimStrength * reflectN * (${RIM.contour} + (1.0 - ${RIM.contour}) * rimKey / max(u_fresnel, 0.001)), 0.0, 1.0);
   // The dark rim is its own layer around the whole silhouette, and the highlight sits ON TOP of
   // it (iOS 27). While the outline used to fade via a (1 − lit) multiplier, the silhouette read
   // as a single arc: highlight OR shadow.
   rgb *= 1.0 - ${RIM.darkEdge} * outline;
-  rgb = mix(rgb, mix(refl, float3(1.0), 0.75), line * lit);
+  rgb = mix(rgb, mix(refl, float3(1.0), ${RIM.whiteShare}), line * lit);
 
   if (u_debug > 9.5 && u_debug < 10.5) { rgb = spectral * 0.5; }
   if (u_debug > 10.5 && u_debug < 11.5) { rgb = float3(density, needForInk, structure); }

package/src/material.ts

@@ -63,14 +63,17 @@ export type VireGlassMaterial = {
   /** Lightness of what the app draws OVER the glass: 1 is light icons and text, 0 is dark. A
    *  cause, not a knob: the calling screen knows it. */
   ink: number;
-  /** Minimum PRESENCE of the element itself: how far its body must stand off in lightness from
-   *  the backdrop behind it. Not the same as `legibility` — that's about the ink OVER the glass,
+  /** Minimum PRESENCE of the element itself: a floor on its body density, tinted toward light and
+   *  fading as the backdrop nears the light pole. Not the same as `legibility` — that's about the ink OVER the glass,
    *  this is about the element itself. Over a uniform backdrop the glass has nothing to refract,
    *  and the element disappears; for a control that's unacceptable. 0 means no presence is
    *  required.
    *
-   *  The sign is taken FROM THE BACKDROP, not from ink polarity: over dark the body lightens,
-   *  over light it darkens. So the requirement works the same way on any backdrop. */
+   *  The direction is always toward light, whatever the ink: the reference body is lighter than
+   *  its surroundings from dark video to sky, under a white glyph as much as a dark one, and only
+   *  as far as the range allows. It never darkens the element on its own account. What can send
+   *  the body to the ink's pole is the ink's legibility over texture, a system setting (reduced
+   *  transparency, increased contrast) or a density past `BODY.inkPoleTo`. */
   presence: number;
   /** Surface film thickness, nm. This is where interference comes from: the optical path
    *  difference in the film becomes comparable to the wavelength, and the reflection picks up
@@ -229,8 +232,8 @@ export const VIREGLASS_LYRICS_MATERIAL: VireGlassMaterial = {
  * a native lens that sets body density: there the element is denser by 2.4 percentage points. On
  * the web the surface has no body at all; the effect only shows on Android below 13.
  *
- * `presence` is raised for the same reason: a piece of background is allowed to disappear over a
- * uniform canvas, a control isn't — it has to be visible before it's been tapped.
+ * `presence` is left at none: the medium's own lift already separates the body from a uniform
+ * backdrop as far as the reference does (docs/dom.md), and the rim carries the silhouette.
  *
  * IMPORTANT about size. The bevel is specified by the medium in dp and doesn't depend on the
  * element's size, but the geometry clamps it to half the smaller half-size (`MAX_BEVEL_FRACTION`).
@@ -244,7 +247,7 @@ export const VIREGLASS_CONTROL_MATERIAL: VireGlassMaterial = {
   thickness: 44,
   bevel: 8,
   roughness: 0.035,
-  presence: 0.176,
+  presence: 0,
 };
 
 export const VIREGLASS_MATERIAL = VIREGLASS_MATERIAL_V5;

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* THE LAW: every calibrated number the material obeys, in one place.\n *\n * A value here is written ONCE and read by everything that needs it — the shader text interpolates\n * it, the JS twins import it. The alternative is what this file replaces: the same number typed\n * into a GLSL string and again into a TypeScript function, drifting apart the first time one side\n * is tuned. `VG_FALLOFF` already worked this way; the rest now does too.\n *\n * Each entry carries where it came from. `§N` is a section of `docs/reference.md`, which is itself\n * drawn from Apple's public sessions; `M 2:32` and the like are the timestamps those sections cite.\n * A number with no provenance is marked as such, and that marking is a debt, not a decoration.\n *\n * Structural constants — 0, 1, 0.5, 2, π — are not laws and do not belong here.\n */\n\n/** Rim optics: the silhouette's light (§2). */\nexport const RIM = {\n  /**\n   * The key-light lobe's exponent. Two opposing arcs come out of one expression, which is why\n   * they are opposed rather than placed: `pow(max(facing, 0), n) + 0.45 * pow(max(-facing, 0), n)`.\n   *\n   * MEASURED off two close-ups of real end caps, frames/crops/cap158-left and cap158-right. The\n   * bright arc's full width at half its peak is 53 degrees in the first and 30 in the second; this\n   * exponent's own width is `2·acos(0.5^(1/n))`, so they imply 6 and 20. It was 3, whose arc is 75\n   * degrees wide — broader than either measurement, and the error is in the same direction in both.\n   *\n   * 6 is the conservative end: it reproduces the wider crop exactly, and a broader arc is the more\n   * forgiving error. One exponent cannot serve both, and that is not noise — a specular lobe's\n   * width depends on the light's angular size as well as the surface, and those are two different\n   * scenes. The model has no term for the light's size.\n   */\n  lobeExponent: 6,\n  /** The far arc, weaker than the one facing the light (§2). */\n  opposingArc: 0.45,\n  /**\n   * The dark edge along the whole silhouette, as a multiplicative darkening. iOS 27 made it a\n   * layer of its own, and it does not rule out the highlight sitting on top of it (§2).\n   */\n  darkEdge: 0.22,\n  /** Width of the hairline, CSS px. \"About a point, not a band and not a bevel\" (§2). */\n  widthPx: 1,\n} as const;\n\n/** How the medium stands between the backdrop and the eye (§3). */\nexport const BODY = {\n  /** Lightness ceiling for the body when legibility is loose. */\n  capLoose: 0.62,\n  /** …and when it is strict. The model is calibrated at these two, not in between (E-43). */\n  capTight: 0.38,\n  /** The two ends the body tints toward. Glass has no colour of its own (HIG \"Color\"). */\n  tintDark: 0.07,\n  tintLight: 0.94,\n  /** How far the backdrop's spread reaches past its mean when deciding what the ink needs. */\n  busyEdge: 0.75,\n  /** Fine texture the body has to stop being a window for. */\n  groundSpan: 0.06,\n  /** Where the tint flips direction, by the element's AVERAGE lightness — a local threshold cuts\n   *  a diagonal step across the body on a gradient. */\n  darkSideFrom: 0.42,\n  darkSideTo: 0.58,\n  /** Ceiling on any single demand, so one requirement cannot make the glass opaque on its own. */\n  maxDemand: 0.92,\n  /**\n   * And a tighter one for presence specifically. It is a FLOOR on visibility, not a licence to go\n   * opaque: wherever the body's tint sits close to the backdrop, the density that would deliver the\n   * separation is the ceiling, and glass at `maxDemand` has stopped being a window. Better to\n   * separate as far as transparency allows and no further. UNMEASURED.\n   */\n  presenceDemand: 0.5,\n} as const;\n\n/** Shadow (§4). The density law lives in `geometry.ts`; these are its measured ends. */\nexport const SHADOW = {\n  /**\n   * Measured off reference frames 711–723: 4.0% over a flat light backdrop, 19.9% over text.\n   *\n   * REPRODUCED independently off frames/verify/m-707 and m-711 — the same capsule in the same scene\n   * at the same scale, once below the text over plain background and once scrolled up over it.\n   * Comparing the rows under the capsule against the same rows far to either side, so the\n   * background's own gradient cancels: 3.5% and 19.2%, peaking about 140 px below the capsule.\n   * Two passes, different frames and a different method, agreeing to within 0.7 of a point.\n   */\n  alphaFlat: 0.04,\n  alphaBusy: 0.199,\n} as const;\n\n/** Dispersion: the channels refract at different indices (§1, Cauchy). */\nexport const DISPERSION = {\n  /** Red bends less than the base index, blue more — and not symmetrically. */\n  redShift: -0.4,\n  blueShift: 0.6,\n} as const;\n\n/** Response to a finger (§5). The springs and decay live in `touch-response.ts`; these shape the\n *  field the finger deforms. */\nexport const TOUCH = {\n  /**\n   * The element grows under pressure (M 3:51; HIG: interactive \"expands\").\n   *\n   * CHECKED, not measured: across frames/knob/switch-press, a 4x5 sheet of one switch being\n   * pressed, the control's extent runs 764 px in the three settled frames and 787 to 822 under the\n   * finger — 3 to 8 per cent. This value sits inside that, which is a consistency check and not a\n   * derivation: the measurement cannot separate the knob stretching from the track growing, and the\n   * settled frames agreeing to the pixel is the only part of it that is tight.\n   */\n  pressGrow: 0.06,\n  /** The ridge around the contact blob: material displaced from under the finger ends up\n   *  somewhere. Without it the shape balloons, and a dense medium does not do that. */\n  ridge: 0.42,\n  /** How far press pulls the field toward the finger. */\n  pressPull: 0.16,\n  /** Wavelength and decay of the ripple, as fractions of its span. Short and quick: in a dense\n   *  medium ripples are frequent and small; long shallow swells are water. */\n  waveLength: 0.17,\n  waveDecay: 0.7,\n  /** The ripple's span, as a multiple of the contact radius. It has to reach the far edge, or it\n   *  reads as jitter under the finger rather than a wave across the surface. */\n  waveSpan: 2,\n  /**\n   * Contact radius as a fraction of the element's half-size. UNMEASURED: §5 says the response has\n   * to be visible UNDER the finger, which is why the blob is wide, but gives no figure.\n   */\n  radiusOfHalfSize: 1.1,\n  /**\n   * Wave impulse as a fraction of the travel limit. UNMEASURED: the core carries the ripple's\n   * decay and frequency, but nothing says how hard a finger strikes it.\n   */\n  waveOfTravel: 0.18,\n  /** The lift-off ring is weaker than the one from touching down (§5). UNMEASURED ratio. */\n  releaseWave: 0.6,\n  /**\n   * How far a glow reaches past the element it started on, as a multiple of that element's\n   * half-size. UNMEASURED: §5 says the glow spreads \"onto any Liquid Glass elements nearby\" and\n   * names no distance. This is the reach at which a neighbour in a tab bar still lights and one\n   * across the screen does not.\n   */\n  glowReach: 3,\n  /**\n   * How much of an element's \"active\" state a touch alone raises — the fraction the glow and the\n   * ink lift ride on when nothing else is driving them. UNMEASURED.\n   *\n   * It was a private constant on the Android surface whose comment said it matched the web's, and\n   * nothing enforced that: the web renderer takes `active` from the host as a field and has no\n   * constant to match. Two renderers agreeing by a comment is exactly what this file is for.\n   */\n  activeOnTouch: 0.3,\n} as const;\n\n/** The bevel's profile — spherical, like a cap: `t / sqrt(1 - t² · k)`, clamped. A plain `t²` kept\n *  the slope near zero through most of the bevel and then shot up at the edge, so the optics\n *  bunched into a ring and the element read as a puck. */\nexport const BEVEL = {\n  sphere: 0.94,\n  floor: 0.02,\n  slopeMax: 3.2,\n} as const;\n\n/** Where two shapes meet head-on their normals cancel exactly and the blend lands on zero. */\nexport const EPSILON = 1e-5;\n\n/** What the medium does to light passing through it (§3). */\nexport const MEDIUM = {\n  /** The lightness content under the glass is pulled toward, and how hard. The medium both removes\n   *  light and mixes scattered light back in: over a light backdrop the body darkens, over a dark\n   *  one it lightens. A layer that only ADDED light pushed the body the wrong way over light\n   *  backdrops (M 2:35). */\n  luma: 0.4,\n  pull: 0.07,\n  /** Ambient light reaching the body on top of that pull. */\n  ambientSpill: 0.01,\n  /** Glass concentrates light: the body is a touch lighter than what lies beneath it (M 2:29). */\n  concentrate: 0.01,\n  /** Scattered light on a frosted element is an ADDITION over the backdrop, not a fraction of the\n   *  way to the tint — a fraction goes to zero once the backdrop reaches the tint's lightness and\n   *  darkens past it (docs/benchmarks.md). */\n  matteLift: 0.1,\n  /** How far scattering reaches, as a fraction of the gather radius, over a busy backdrop under\n   *  ink. Set against the reference: structure under the capsule fades by a factor of nine or ten\n   *  there, not thirty (M 11:47). */\n  scatterMax: 0.2,\n  scatterBase: 0.1,\n  /** The response to structure saturates early: what competes with the ink is not the AREA of\n   *  foreign text but the fact of it — a line under a tile measures about 0.12 of busy. */\n  structureGain: 20,\n  /** Tint density in the flat middle; the bevel multiplies it by the edge density. */\n  bodyDensityFlat: 0.19,\n} as const;\n\n/** The lens itself (§1). */\nexport const LENS = {\n  /** Backdrop compression at the rim goes to infinity at the silhouette, so the radius correction\n   *  is capped. */\n  footprintMax: 1.8,\n  /** Same reason, for the profile's slope. */\n  slopeMax: 40,\n  /** Every thin film on glass sits around this index. */\n  filmIor: 1.35,\n  /** Reference channel wavelengths in nm — red, green, blue — for diffraction and interference. */\n  lambdaR: 610,\n  lambdaG: 550,\n  lambdaB: 460,\n} as const;\n\n/** The shadow's shape in the gap under the element (§4). */\nexport const SHADOW_GAP = {\n  /** How much weaker the shadow is right at the outline than under the middle of the gap, and what\n   *  fraction of the offset it takes to reach full depth. In the reference the shadow's minimum\n   *  sits BELOW the rim, not at it. */\n  light: 0.76,\n  reach: 0.2,\n  /** Fraction of the ambient hue the shadow carries. It has to stay a shadow, not a coloured blob. */\n  tint: 1,\n} as const;\n\n/** Ink drawn inside the material (§5). */\nexport const INK = {\n  /** Depth beneath the surface, dp. The normal displaces it by exactly this much at the rim. */\n  depth: 4,\n  /** Defocus under a finger, as a FRACTION of the touch blob rather than a length: the blob\n   *  already arrives in device units, so this follows both screen density and element size. At\n   *  rest it is zero and the sample stays a single one. */\n  defocus: 0.08,\n} as const;\n\n/** The spectral edge (§1): dispersion, diffraction and interference are one cause — a dependence\n *  on wavelength — and one hue multiplier, normalised to its own mean. They colour the reflection\n *  without brightening it. */\nexport const SPECTRAL = {\n  /** How far into the bevel the fringes reach, as a fraction of it measured from the silhouette.\n   *  Diffraction is an EDGE effect; past this the bevel is plain glass. */\n  diffractionOnset: 0.45,\n  /**\n   * The same window for interference, which had none. §2 puts the iridescence on the opposing ARC —\n   * \"the opposing arc carries an iridescent fringe\" — and a fringe is a thing at an edge.\n   *\n   * Without it the term applies wherever the surface angle puts it, and across the inner bevel the\n   * angle barely changes, so a film that should read as a fringe reads as a flat colour filter.\n   * Measured on a 680x64 bar with the default preset: a multiplier of 1.68, 1.26, 0.05 held CONSTANT\n   * from a third of the way through the bevel to its inner edge — red boosted by two thirds and blue\n   * removed outright. UNMEASURED window; wider than diffraction's because interference reaches\n   * further in than the fringes do.\n   */\n  iridescenceOnset: 0.25,\n  /** Fringes across the bevel. Denser as the bevel sharpens, which is what the phase term does. */\n  diffractionFringes: 4,\n  /** The channel the hue is measured against, nm. Green is the eye's own reference. */\n  referenceLambda: 550,\n} as const;\n\n/** Tinting (§7): a colour that is a property of the medium, not a fill over it. */\nexport const ACCENT = {\n  /** The tone the colour takes over a dark backdrop and over a light one. \"A range of tones mapped\n   *  to content brightness underneath\", rather than one flat colour. */\n  deep: 0.88,\n  light: 1.08,\n  /** How much of the medium the colour occupies by default. Short of one, because the content has\n   *  to keep coming through: a fill \"breaks the visual character of Liquid Glass\" (@17:03). */\n  amount: 0.8,\n} as const;\n\n/**\n * The system accessibility settings (§9). They are modifiers on the material's layers, so their\n * calibration belongs in the law next to the layers they move — not as private constants in the\n * module that happens to apply them.\n */\nexport const ACCESSIBILITY = {\n  /** Frost floor under reduced transparency: the glass gets \"frostier\" (§9). */\n  frostMinDp: 14,\n  /**\n   * Body floor under reduced transparency. B @10:07 is the stricter statement of the two — a bar\n   * \"gets a background when reduce transparency is enabled\" — so this is a background, not a\n   * thicker haze. UNMEASURED: neither source gives a figure.\n   */\n  obscureMin: 0.82,\n  /** Under increased contrast the element is \"predominantly black or white\" (§9): the body goes to\n   *  whichever pole its ink already points at, at a density that leaves it reading as that pole. */\n  contrastDensity: 0.94,\n  /** …and separates from the backdrop on its own, whatever is behind it. */\n  contrastPresence: 0.5,\n  /**\n   * The contrasting border §9 asks for, in units of lightness away from the body's own pole. The\n   * rim stops taking its colour from the environment and takes it from the element instead — an\n   * ambient hairline is not a contrasting border. UNMEASURED.\n   */\n  contrastRim: 0.85,\n  /**\n   * Press that survives reduced motion. §9 \"decreases the intensity of some effects and disables\n   * any elastic properties\": the spring and the ripple are elastic and go to zero, the press is an\n   * ease that carries the element's light, so it is damped rather than removed — an element that\n   * stops answering a finger altogether is not reduced motion, it is no feedback. UNMEASURED.\n   */\n  stillPress: 0.6,\n} as const;\n\n/**\n * Morphing (§5). Apple's design leads name their own model for it out loud (S 1:25:30, fireside\n * chat with the Apple design team): \"we also had a refresher from biology class. It's called\n * mitosis and meiosis. When these things are coming together or materialization and\n * dematerialization and morphing.\"\n *\n * Which is the right physics and not a metaphor: a dividing cell is one body throughout. It never\n * has a moment of being two bodies that happen to touch, and it never pops a second body into\n * existence beside the first. The neck is continuous from start to finish, and it is the neck that\n * carries the whole transition.\n */\nexport const MORPH = {\n  /**\n   * Width of the neck between two lobes, as a fraction of the smaller one's half-size. On a large\n   * element the bridge has to be wider or the seam keeps a sharp corner, which a liquid does not\n   * have. UNMEASURED: the reference names the behaviour and no figure.\n   */\n  neck: 0.35,\n  /**\n   * How far past merely touching a completed fusion goes, as a multiple of the bridge width that\n   * just closes the gap. At exactly the bridge width the two surfaces meet at a point, which is two\n   * shapes kissing rather than one body.\n   *\n   * MEASURED, frames/morph/s03, the one panel where the necks are still attached. Apple's\n   * silhouette there: lobes 72 and 82 px with their centres 92 px apart — 15 px of space between\n   * their surfaces — joined by a neck 28 px tall. Rendering the same geometry through this model\n   * gives 29.0. The measurement discriminates: 1.2 gives 23.5, 1.4 gives 33.5, and at 1.0 the neck\n   * closes to nothing.\n   */\n  fuse: 1.3,\n} as const;\n\n/**\n * CAUSE TO EFFECT. The normalisations that turn what the medium IS — index, thickness, bevel,\n * roughness, film — into what a renderer needs. They lived as literals inside `optics.ts`, half of\n * them not even named, which meant the heart of the model was the one part of it the law could not\n * see.\n *\n * Almost all of them are stylisations and say so. Literal physical values put every effect at the\n * threshold of visibility: real glass reflects four per cent at normal incidence, and a rim drawn\n * at four per cent is not a rim. Each is monotonic in its own cause, so \"denser medium, brighter\n * rim\" holds whatever the constant is; what no one has measured is where on the scale Apple's\n * material sits. Hence UNMEASURED on nearly all of it — that is the honest state of this file, and\n * the gate now says so out loud instead of the number hiding in a module.\n */\nexport const DERIVE = {\n  /** Physical 4% reflectance into the render's working range. UNMEASURED. */\n  fresnelGain: 17.5,\n  /** Schlick's exponent. A constant of the approximation, not a knob. */\n  fresnelExponent: 5,\n  /** The index at which ray bending is at full strength, measured from air. UNMEASURED. */\n  iorFullBend: 0.6,\n  /** Magnification behind a plane-parallel plate, per dp of thickness. UNMEASURED. */\n  magnifyPerDp: 0.006,\n  /** In ordinary glasses the Abbe number falls as the index rises, so dispersion grows with it.\n   *  UNMEASURED slope. */\n  dispersionPerIor: 1.1,\n  /** Index spread between the red and blue channels. The physical value (~0.01 at an Abbe number\n   *  of 55) is at the threshold of visibility. UNMEASURED. */\n  iorSpreadPerDispersion: 0.045,\n  /** Beer–Lambert absorption per dp of path. UNMEASURED. */\n  absorbPerDp: 0.017,\n  /** Ceiling on how much denser the bevel may read than the body. The rim's ray travels further\n   *  through the medium; past this the rim is milk rather than glass. UNMEASURED. */\n  edgeDensityMax: 4,\n  /**\n   * Frost ceiling, dp. Deliberately low: blur is a SUPPORTING device here, and past about a dozen\n   * dp letters under the glass stop being letters. Separating content from ink is the body's job.\n   *\n   * UNMEASURED, and an attempt is recorded here so the next one does not repeat it.\n   * frames/verify/m-711 has the same paragraph sharp beside the capsule and behind it, which looks\n   * like the measurement: match the blur that takes the sharp patch's detail down to the glassed\n   * one's. It gives 2 to 3 px at that frame's scale, and the figure is not trustworthy. Detail is\n   * lost to three things at once there — the frost, the magnification (`refractionScale` lowers the\n   * text's spatial frequency without blurring anything), and the body veiling its contrast — and\n   * the method cannot separate them. What it does bound is the total: the text behind the glass\n   * keeps 68% of the detail it has beside it.\n   *\n   * A clean measurement needs a frame where the glass does not magnify, or a feature of known size\n   * behind it to normalise the magnification out.\n   */\n  blurMaxDp: 12,\n  /** Highlight width from a smooth surface and from a fully rough one, as a specular exponent.\n   *  UNMEASURED. */\n  specularPowerSmooth: 160,\n  specularPowerRough: 8,\n  /** How much roughness damps the highlight's brightness. UNMEASURED. */\n  specularRoughDamping: 0.6,\n  /**\n   * The medium's own hue by density. Water absorbs red and skews cool, ordinary glass is nearly\n   * neutral with a faint green, dense high-index media skew warm. Glass has no colour of its own\n   * (HIG \"Color\"), so this is never set by hand — it is tied to the index.\n   */\n  hueCool: [0.86, 1.0, 1.08],\n  hueNeutral: [1.0, 1.02, 0.99],\n  hueWarm: [1.08, 1.0, 0.88],\n  /** The index range the hue sweeps across, and where it starts. UNMEASURED. */\n  hueFromIor: 1.2,\n  hueSpan: 0.55,\n  /** Body lightness follows reflectance: the denser the medium, the more of its surroundings it\n   *  returns. UNMEASURED base and slope. */\n  bodyLiftBase: 0.34,\n  bodyLiftPerF0: 2.4,\n  /**\n   * How far past the bevel the rim gathers its surroundings, as a multiple of the bevel. At a\n   * grazing angle the eye receives the vicinity rather than what is under the glass, and without\n   * this, glass on an empty black background has no source at all. UNMEASURED.\n   */\n  gatherPerBevel: 4,\n  /** Floor and ceiling on that radius, dp. Unbounded, a wide bevel gathers from fifty dp away and\n   *  a READABLE copy of the neighbourhood appears inside the glass — eight samples cannot blur a\n   *  disc that large (E-33, E-37). */\n  gatherMinDp: 4,\n  gatherMaxDp: 28,\n  /** The body's own density from absorption through its thickness. Small: the body only moves\n   *  toward the tint under the legibility requirement, otherwise it dims the content. UNMEASURED. */\n  bodyDensity: 0.05,\n  /**\n   * Rim light on the physical scale rather than the rim highlight's. `fresnelGain` saturates at one\n   * for dense media, and applying it here too would raise body lightness harder than the glass had\n   * just separated it from the ink — eating its own legibility work. UNMEASURED.\n   */\n  edgeLightGain: 6,\n  /**\n   * Iridescence rides the REFLECTED ray, so it is tied to Fresnel and has no knob of its own.\n   *\n   * MEASURED against how coloured a real rim is. In frames/crops the brightest rim pixels have a\n   * channel spread — (max − min) / max — of 13% in cap158-left and 20% in cap158-right, against\n   * their own backdrops' 14.6% and 14.3%. So the rim is no more coloured than the scene it stands\n   * in: §2's \"iridescent fringe\" adds a few points at most, and in one of the two crops it adds\n   * nothing measurable.\n   *\n   * At 1.6 this put ordinary glass at 0.945 iridescence and the spectral multiplier reached a 97%\n   * channel spread — red boosted by two thirds and blue removed. Rendered over a coloured page that\n   * is a neon tube around every control, which is what sent me to measure it.\n   */\n  iridescencePerFresnel: 0.042,\n  /** Edge diffraction shares dispersion's λ-dependence, at the stylised amplitude: at the physical\n   *  one the fringes are not visible at all. MEASURED with the same crops and the same target as\n   *  iridescence — on its own it was reaching a 93% channel spread. */\n  diffractionPerDispersion: 0.05,\n  /** Multiple internal reflection — the denser the medium, the more light it circulates and the\n   *  more it is tinted by its surroundings. UNMEASURED slope. */\n  colorPickupPerFresnel: 0.9,\n  /**\n   * The ceiling, which keeps it a medium rather than a fill.\n   *\n   * MEASURED, frames/concentric/shadow-zoom: the same sidebar twice, over a yellow cover and over a\n   * pink one, so the difference between the panels is the pickup with the sidebar's own colour\n   * subtracted out. Sampling a band of rows clear of the text, the bar's hue offset against the\n   * cover's own reaches 0.31 of it at the edge nearest the content in the yellow panel and 0.28 in\n   * the pink one. It was 0.42, which nothing measured.\n   *\n   * Reality is not uniform: the bleed falls to nothing about ninety pixels in, and both panels show\n   * the same falloff. The DOM path has one backdrop sample per element and cannot reproduce that,\n   * so it applies the ceiling across the whole body — right at the edge, too strong in the middle.\n   * That limit is in docs/dom.md rather than papered over with a lower number.\n   */\n  colorPickupMax: 0.3,\n} as const;\n\n/**\n * SIZE AND SHADOW. What changes when an element gets bigger, and how dense its shadow reads over\n * what is behind it. 219 @6:36: as glass \"flexes and morphs to larger sizes, it simulates a\n * thicker material with deeper shadows and more pronounced lensing and refraction\".\n */\nexport const SIZE = {\n  /** Half-size at which bevel and thickness are specified as given; they grow as its square root\n   *  from there. UNMEASURED reference size. */\n  referenceDp: 24,\n  /** Floor and ceiling on that growth. UNMEASURED. */\n  gainMin: 0.8,\n  gainMax: 2.4,\n  /** A bevel wider than this fraction of the half-size breaks the SDF — the roundings converge in\n   *  the middle. A property of the geometry, not a taste. */\n  maxBevelFraction: 0.65,\n} as const;\n\n/**\n * Shadow density by what is behind the element. 219 @11:47, verbatim: it \"increases the opacity of\n * its shadow when it is over text… lowers the opacity of its shadow when it is over a solid light\n * background.\" About content BEHIND the element, so one value per element rather than a field over\n * the shadow's area. Endpoints checked against the reference by the depth of the dip under the\n * element (docs/benchmarks.md).\n */\nexport const SHADOW_DENSITY = {\n  /** Over a flat background. */\n  flat: 0.8,\n  /** How fast it rises with structure behind the element, and how far it may rise. */\n  busyGain: 6,\n  busyRise: 1.2,\n  /** Quantisation of the emitted value: a shadow that changes on every pixel of scroll re-lays-out\n   *  the native view every frame. */\n  step: 0.05,\n} as const;\n\n/**\n * THE MEDIUM'S RESPONSE TO A FINGER (§5). Part of the material, exactly as `ior` is: keeping these\n * with the consumer would mean web and Android ended up with two different glasses under one name.\n *\n * Press is viscous — it dents shallow and releases slowly. Drag is thick: the body noticeably lags\n * the finger, travel is short, and on release it snaps back fast with almost no overshoot, because\n * a wide springy overshoot would be liquid jelly rather than dense glass.\n */\nexport const SPRING = {\n  /** Stiffness and damping while the finger is down. UNMEASURED. */\n  holdStiffness: 260,\n  holdDamping: 46,\n  /** …and after it lifts. Stiffer, and damped hard: a dense medium snaps back without ringing. */\n  releaseStiffness: 420,\n  releaseDamping: 34,\n  /** Time constants for the press dent, in and out, seconds. UNMEASURED. */\n  pressAttack: 0.07,\n  pressRelease: 0.16,\n  /** How fast the touch point catches up to the finger. Not instant: an instant jump tears the\n   *  deformation, and on rapid taps that reads as jitter. */\n  pointFollow: 0.045,\n  /** …and how fast the element registers as being touched at all, which is what the glow rides. */\n  activeFollow: 0.09,\n  /** The ripple decays within a quarter second rather than oscillating: in a viscous medium ripples\n   *  are short and weak. UNMEASURED. */\n  waveDecay: 0.22,\n  waveTurnsPerSecond: 3,\n  /** Ceilings on the accumulated ripple, as multiples of a single impulse. Impulses add up rather\n   *  than restart — restarting cuts a running wave mid-period, which is what jolts on rapid taps. */\n  waveCapOnGrab: 1.6,\n  waveCapOnRelease: 2,\n} as const;\n\n/** The user's clear-to-tinted preference (§3). */\nexport const SCALE = {\n  /** Where on the scale the material stays exactly as it is by default. */\n  default: 0.35,\n  /** Body density at the fully tinted end: content under the glass has to be hidden. UNMEASURED. */\n  tintedDensity: 0.9,\n} as const;\n\n/**\n * The scroll edge (§10). 219 @9:16: as content scrolls under a glass element \"the effect gently\n * DISSOLVES the content into the background, lifting the glass visually above the moving content,\n * and allowing floating elements like titles to always remain clear.\"\n *\n * 356 @11:32 says what it is not, and the first implementation here did exactly that: \"they don't\n * block or darken like overlays. They simply clarify where UI and content meet.\"\n */\nexport const SCROLL_EDGE = {\n  /** How far the content has to slide under the panel for the effect to fully engage, dp. */\n  engageDp: 24,\n  /**\n   * How far the blur reaches BELOW the bar's lower lip, as a multiple of the bar's own height.\n   *\n   * MEASURED, frames/scroll-edge/z576 at 320x413. High-frequency energy (mean |laplacian| per row,\n   * which a brightness gradient in the content cannot fake) reads 1.4 through the zone under the\n   * bar and 14 in the sharp content below — a factor of ten. The bar's lip is at y≈45 and the zone\n   * runs to y≈130, so the reach is about 1.9 times the bar's own height.\n   *\n   * The same frame confirms 219 @9:22 in passing: the floating title sits inside that zone at 32,\n   * twenty times its surroundings. Titles stay crisp while everything behind them dissolves, which\n   * is why the effect belongs behind the glass in the stack rather than over the content.\n   */\n  reachOfBarHeight: 1.9,\n  /** The blur the content dissolves into at the edge, dp. This is the effect itself — the content\n   *  goes out of focus into the background rather than being covered by anything. UNMEASURED. */\n  dissolveBlurDp: 10,\n  /**\n   * Over dark content the glass turns dark and 219 @9:33 switches the effect \"to apply a subtle\n   * dimming instead\". Dimming is a reduction in luminance: dark content under dark glass merges\n   * with it, and pushing the content down is what lets the glass sit above it. UNMEASURED.\n   */\n  dimAlpha: 0.1,\n  /** A pinned view under the panel (column headers) gets a flat band instead of a gradual fade\n   *  (219 @9:41) — \"a stronger, more opaque boundary\" (356 @12:12). UNMEASURED. */\n  hardBlurDp: 14,\n  hardAlpha: 0.18,\n} as const;\n"]}