/* =========================================================================
   Ciano Meubles — demo palette tokens
   One namespace (--x-*) for the whole demo layer. Load this FIRST, before any
   other demo stylesheet.

   Eleven colour values, one name per job, so two files cannot quietly
   disagree about what "the dark ground" or "brass" means.

   PALETTE: Cream & Charcoal. The paper ladder and the brass are the original
   warm palette, untouched. What changed is everything structural: the ink,
   the dark grounds and the walnut accent were all warm BROWNS sitting in the
   same 25–45° hue band as the walnut and oak in the photography, so the
   interface had no hue separation from the product it was selling. Those are
   now warm NEUTRALS at matched lightness. Wood is the only brown on the page.

   Retired by this file, and why:
     #14100c #17130f #16110d #100d0b   four near-blacks within 3 L* of --x-dark
     #241c15 #221a14 #1e1813           three more within 4 L* of --x-dark-lift
     #faf6f0 #f5f0e8 #f4efe6           three papers within 1.1 L* of --x-paper
     #e9e1d4 #e6dfd3                   two papers within 1.4 L* of --x-clay
     #d8d0c2 #fffdfa #fffdf9           off-ladder, single-use
     #c9a96e                           the lighter brass; fails AA on paper
   ========================================================================= */

:root {

  /* ---- paper ------------------------------------------------------------
     A four-step ladder, evenly spaced in perceptual lightness: 95.7 → 92.1 →
     88.4 → 86.2 L*. Card white is the one true white, and only for a surface
     deliberately lifted off the paper. */
  --x-paper:  #f7f2ea;   /* L* 95.7 — page ground */
  --x-kraft:  #ede8de;   /* L* 92.1 — alternating band */
  --x-clay:   #e4ddd1;   /* L* 88.4 — recessed surface, inputs, CTA band */
  --x-stock:  #ddd7cc;   /* L* 86.2 — deepest paper */
  --x-card:   #ffffff;   /* L* 100  — lifted cards only */

  /* ---- dark -------------------------------------------------------------
     Two values, 7.6 L* apart so the step is legible. A dark surface lifts by
     getting LIGHTER, exactly as a white card lifts off warm paper. Going
     darker to signal "on top" is what produced the seams this replaces.
     Keep the gap: neutralising these two naively collapses it to 3.5 L*
     (1.08:1) and the lifted plates in home-sections all but disappear. */
  --x-dark:      #1b1a18;   /* L*  9.3 — every dark section ground */
  --x-dark-lift: #2a2a27;   /* L* 16.9 — a plate sitting on that ground */

  /* ---- ink --------------------------------------------------------------
     No longer shares a value with --x-dark-lift: the lift has to clear the
     dark ground, while ink only has to be legible on paper, and neutralising
     the old shared brown pulled those two jobs apart. 14.44:1 on --x-paper. */
  --x-ink: #22211f;

  /* ---- metal ------------------------------------------------------------
     The brass is deliberately UNCHANGED by the Cream & Charcoal palette. It
     is the metal, not the structure — it is what stops the neutral system
     reading cold, and it stays the only chromatic colour in the interface.
     One hue, two lightnesses, split strictly by ground:
       --x-brass      5.63:1 on --x-dark   · 2.77:1 on --x-paper  (never text on paper)
       --x-brass-ink  5.47:1 on --x-paper  · 4.52:1 on --x-clay
     The structural accent below WAS walnut #6b4e2a and is now graphite, so
     that structure and metal no longer compete in the same hue band.
     10.18:1 on --x-paper, 8.41:1 on --x-clay. */
  --x-brass:     #b08d57;   /* L* 60.8 — ornament, rules, marks, text on dark */
  --x-brass-ink: #7d5c2f;   /* L* 41.6 — the same hue, safe as text on paper */
  --x-graphite:  #3c3a36;   /* L* 24.5 — structure on light grounds */

  /* ---- channel triples --------------------------------------------------
     Scrims, veils and hairlines need the same colours at partial alpha. These
     exist so a translucent value can never drift away from its solid twin —
     which is how two near-identical darks once ended up in one gradient. */
  --x-dark-rgb:  27, 26, 24;
  --x-paper-rgb: 247, 242, 234;
  --x-ink-rgb:   34, 33, 31;
  --x-brass-rgb: 176, 141, 87;

  --x-line: rgba(var(--x-ink-rgb), 0.15);

  /* ---- type ------------------------------------------------------------- */
  --x-display: 'Cormorant Garamond', Georgia, 'Times New Roman', serif;
  --x-sans:    'Montserrat', system-ui, -apple-system, sans-serif;

  /* ---- motion -----------------------------------------------------------
     Two curves, kept because they do genuinely different jobs. Collapsing
     them to one would make cross-dissolves accelerate wrongly.
       --x-ease     an out-curve: entrances, hovers, settles — arrives and stops
       --x-ease-io  an in-out curve: cross-dissolves, travelling edges, wipes */
  --x-ease:    cubic-bezier(0.22, 1, 0.36, 1);
  --x-ease-io: cubic-bezier(0.76, 0, 0.24, 1);

  /* ---- geometry ---------------------------------------------------------
     Two radii and a circle. Buttons stay square at 0 — that is the demo's
     own signature and it is applied consistently, so it is a decision rather
     than drift. */
  --x-r:       4px;   /* inner rules, small surfaces */
  --x-r-photo: 6px;   /* anything holding a photograph */
}