System authors no palette of its own, so its semantic family is fixed data
measured against whatever surfaces the platform provides. The ladder that
landed with the authored roles reused the old contrast-ordered values:
PositiveSoft and NegativeSoft sat at 2.76–3.90:1 on common light and dark
platform surfaces, and the strong level was less saturated than the
secondary, which is the inversion the chroma rule removes.
Re-author the six default semantic colors per scheme at the same 4.60
target the shipped themes use, against representative platform surfaces,
and mirror them in System's palette files. The new
DefaultSemanticFamilyMeetsTheLadderOnPlatformSurfaces test holds the floor
and the saturation order there, and shippedPalette's early return now says
why System is outside the authored-palette assertions.
The saturation floor was added while the emphasis levels were still
computed: it rescued the pale dark-scheme tones once a whole shape
carried them. With the levels authored, the floor overrides the author
instead: a quiet level jumped to the secondary saturation as soon as a
sticker or a badge painted it, so the ladder only existed for line
glyphs.
The authored tone is now the top of the fill gradient and the treatment
only darkens the bottom for depth, so every treatment renders exactly the
level the palette stores. The badge glyph ink no longer guesses the
scheme from the tone's value: an authored quiet level is a dark color on
the dark scheme too, so the scheme is passed in from the surface palette.
The preview sheet renders every shipped palette theme, three glyphs per
family, and each row prints the authored tone and the darker bottom.
The emphasis levels were computed from the accent at paint time, so a
theme could not vary them: every theme got the same derived strong and
soft tones, and a semantic hue was pushed toward the accent whether the
author wanted that or not.
Give each family three authored roles instead. Icon/IconStrong/IconSoft
carry the neutral glyph ink and Positive/Negative gain the same Strong
and Soft companions. Emphasis becomes a lookup inside the family, and a
caller that names a variant pins that level at every emphasis. The paint
path returns the authored color verbatim; only the filled treatments keep
their saturation floor, because carrying a disc or a fill is a treatment
decision.
Shipped palettes author the full ladder for both schemes; the palette
editor exposes the new rows and the generator writes them. System keeps
deriving its neutral ink from the platform palette, since it ships no
palette of its own.
Tint says which hue, style says how much shape, and nothing said how loud.
Call sites that have a hierarchy (a card hover panel's nav strip, the visual
database filter toolbar) could only pick between "the theme color" and
"another theme color", so "this is the important one" had no way to be
expressed and every glyph in a surface arrived with the same weight.
Add `IconEmphasis` as the third axis: Quiet, Secondary, Primary. It travels
inside `IconTint` instead of becoming a fourth `loadThemedIcon` parameter, so
every existing call site keeps working and its look, and emphasis reads as
part of the same "how should this glyph be inked" decision as the tint.
- Primary lifts a neutral glyph to `QPalette::Highlight`, so the surface's own
action color names the primary action instead of a second gray token, and
pushes both neutral and tinted glyphs to a 7:1 floor.
- Quiet blends toward the surface and stops at the 3:1 WCAG non-text floor,
for glyphs that label a control rather than act (the magnifier in a search
field, a section marker).
- Secondary is the previous color verbatim.
The default ink borrows enough accent to sit off the palette's pole (5.4:1 on
light, 6.4:1 on dark), so the 7:1 primary floor is measurably above it in both
schemes instead of being lost against a near-black or near-white default. The
tests pin that order where it exists, and the hue shift still separates the
levels at a glance.
Disabled glyphs and the Selected -> HighlightedText swap are unchanged at
every emphasis level.
Neutral icons resolved `currentColor` straight to `QPalette::WindowText`. A
glyph is not a word: it is a 16-24px mark drawn with a 2-unit stroke, so
antialiasing thins it until it reads lighter than the text beside it, in the
one color the palette reserves for reading. The result is that icons recede
into the chrome exactly where they should anchor it.
Add `theme_icon_ink`, one rule with one job: mix a share of the theme accent
into the neutral text color, then hold the result to a contrast floor. The
accent share gives the glyph chroma the text does not have, so it reads as an
icon rather than as leftover text, and it is derived from `QPalette::Highlight`
rather than a new token. The floor keeps a theme with a weak text color from
producing an illegible glyph.
Only the neutral label roles (`WindowText`, `Text`) are inked. Semantic tints
are hues the call site chose on purpose, disabled uses the disabled group, and
the selected-row swap to `HighlightedText` is unchanged.
The WCAG contrast math moves from `theme_icon_badge` to the new unit, so badge
ink decisions and the floor share one implementation.
Tests: the ink rule against every shipped palette, the weak-text floor, and the
palette-following render tests now ask the rule instead of restating its
output. A preview sheet sweeps the accent share at 0-35% over window and button
surfaces for both schemes.
Address review: drop the AI-cadence prose from the IconStyle/IconTint and treatment headers, use ///< for the enum member docs, and move theme_icon.cpp's anonymous namespace above the IconTint definitions. No behavior change.
The pre-#7595 add, remove and delete icons were filled shapes with a black
outline and no disc. A tint cannot bring that back, and the badge disc is a
different icon language, so add a third value to the existing style axis.
IconStyle::Sticker draws the sentinel glyph twice: a near-black rim at the
band width plus one rim on each side, then the tone pass clipped to the glyph
and filled with a vertical gradient. Both treatments keep the disabled
fallback to the line glyph.
The fill rule moves into theme_icon_fill: the semantic tones are tuned for
text, so a filled shape gives its tone a saturation floor, and a dark-scheme
tone is pulled down rather than up. IconTint::resolve() applies the same floor
to line glyphs, and the badge disc uses the same fill, so a line, a badge and
a sticker next to each other carry the same green or red instead of a pale
line beside a saturated glyph.
The badge's glyph ink follows the scheme: white on light-scheme tones, as in
the pre-#7595 art, and the saturated tone darkened to an outline-dark ink on
dark-scheme tones, where the shared saturated disc is light enough that white
would sit near 2.7:1. The new test pins both cases so the glyph cannot
silently flip.
resolveSvgStrokeWidth() moves the stroke-width rewrite into
libcockatrice_utility so the badge and the sticker share it; the badge's local
copy is gone.
The sticker is opted into at 17 call sites: increment, decrement and
remove_row in the deck editor, settings pages, token dialog, server dialogs
and replay/deck storage tabs. The visual database's clear-filter button keeps
its trash can (icons/delete) in the line treatment: that glyph is new in
#7595, but it is the clearer metaphor, and a sticker rim closes its lid gap
at toolbar sizes.
The preview generators also gain a semantic-tint sheet for #7775 and a
line/badge/sticker family strip, so the three PR descriptions can show the
same rendered colors.
Restore the filled-disc look the ready/not-ready icons had before the
one-glyph cutover, without bringing back palette-locked art.
IconStyle::Badge composes the existing sentinel SVG at paint time: a
gradient disc, a dark ring, and the glyph re-weighted and inked for
contrast against the tone. Line stays the default and is unchanged.
Only the two state icons opt in. The add/remove icons keep the line
treatment because their old art was a filled glyph with an outline and
no disc, so badging them would invent a look the UI never had. Disabled
badges fall back to the line glyph so an unavailable control still reads
as unavailable.
The one-glyph cutover recolored every icon from a single palette role, so a
disabled deck, a not-ready player and a remove button all lost the red or green
that carried their meaning.
Add Positive and Negative application colors beside the accents, ship
scheme-appropriate defaults for every theme, and resolve them through
ThemeManager. Icons now take an IconTint: a palette role for structural glyphs,
or a semantic role for states and add/remove actions. A disabled semantic icon
falls back to the disabled foreground; on a selected row a semantic tint keeps
its color only while it stays legible on the highlight, and a palette tint keeps
the existing WindowText -> HighlightedText swap.
A QPixmap snapshot cannot follow palette changes, so expose a QIcon whose
engine resolves the `currentColor` sentinel from the live palette on every
pixmap request. Icons stay legible across light/dark switches without
recreating actions or buttons.
- Resolve the asset, its bytes and its intrinsic size once, and drop them on
ThemeManager::themeChanged/paletteChanged. A repaint does no file I/O and
no theme.cfg parse; the palette color stays part of the render cache key.
- Centre the glyph on QRectF(rect).center(): QRect::center() floors and uses
right = left + width - 1, which shifted every 16x16 item-view glyph up and
left by a logical pixel and clipped its last row and column.
- Take a raster override's intrinsic size from QImageReader instead of the
24x24 SVG default, so a non-square override reports the box it draws.
- Set the device pixel ratio before inserting into the render cache, so a
cache hit no longer detaches the pixmap on every paint.
Co-authored-by: Lukas Brübach <Bruebach.Lukas@bdosecurity.de>
