/*!
 * palette.css - the single home of every brand colour.
 *
 * Loaded first, before every other stylesheet. Two blocks:
 *
 *   :root                        "warm" - the palette approved in v5
 *   :root[data-palette="bark"]   "bark" - #302621 Wood bark as the dark brand
 *                                colour (the client's July request)
 *
 * The attribute is printed on <html> by fast_vid_palette() in functions.php, so
 * switching the whole site - or rolling the change back - is ONE word in ONE
 * place and no stylesheet is touched. See that function for the switch itself;
 * git tag `palette-warm-baseline` is the pre-bark snapshot.
 *
 * Rules for editing:
 *
 *   1. A brand colour goes HERE, never inline in a component. Every rgba() in
 *      the other stylesheets reads a `*-rgb` channel token, because the earlier
 *      hardcoded rgba(42,35,23,.09) values did NOT follow a palette switch and
 *      left the old colour showing in shadows, hairlines and overlays.
 *   2. Keep the two blocks identical in KEYS. A key present in one and missing
 *      in the other silently keeps the warm value - which is the one bug this
 *      file exists to prevent.
 *   3. Every `--x-rgb` must stay in sync with its `--x` hex. They are separate
 *      tokens because rgba() cannot take a hex.
 *   4. Metal colours are NOT palette: a silver coin stays silver in every
 *      palette, so .cnm--gold / .cnm--silver keep their own local tokens in
 *      redesign.css. Same for the watch/jewellery brand accents in
 *      functions.php - those are other companies' colours.
 *   5. `theme_color` in fast_vid_palette() must match --cream here; the meta tag
 *      cannot read a custom property.
 */

:root {
  /* --- accent ------------------------------------------------------------ */
  --gold: #B8935A;
  --gold-rgb: 184, 147, 90;
  --gold-dark: #A3823F;
  /* The accent as it appears ON a dark band, where the light-surface accent
     would disappear. Six places use it: the marquee press mentions, the footer
     column headings, the eyebrow on the brands band, "Индивидуально", and the
     calculator's sum and kicker. */
  --accent-on-dark: #B8935A;
  /* Gold that has to CARRY TEXT on a light background. Plain --gold scores
     2.74:1 on paper, which fails AA for the 11px mono micro-labels; this is the
     same hue and saturation dropped to 35% lightness -> 5.50 on paper, 4.55 on
     cream. Dark bands keep --gold (5.16 on bark) - see the override list in
     redesign.css. */
  --gold-ink: #7F6134;
  --gold-soft: rgba(var(--gold-rgb), .12);
  --bronze: #A99370;
  --bronze-rgb: 169, 147, 112;
  /* Same problem, same fix, for the 10-11px bronze micro-labels (card index
     numbers, dates, spec keys, breadcrumbs): plain --bronze is 2.84:1 on paper
     and 2.35:1 on cream. This is bronze's hue and saturation at 36% lightness
     -> 5.71 / 4.73. Bronze inside the espresso calculator keeps --bronze. */
  --bronze-ink: #736145;

  /* --- surfaces ---------------------------------------------------------- */
  --paper: #FCFAF6;
  --paper-rgb: 252, 250, 246;
  --cream: #EDE4D5;
  --cream-rgb: 237, 228, 213;
  --cream-2: #F6F1E8;

  /* --- ink and the dark brand surface ------------------------------------ */
  --ink: #2A2317;
  --ink-rgb: 42, 35, 23;
  --ink-soft: #6A5F4E;
  --line: #E3D9C7;
  --espresso: #211A10;
  --espresso-rgb: 33, 26, 16;
  /* Hover state of anything FILLED with the dark brand colour - buttons,
     pressed chips, the scrolled nav. One step lighter, same hue. */
  --espresso-lift: #2D2316;
}

/*
 * "bark" - #302621 Wood bark on white.
 *
 * Bark is the dark BRAND colour (ink + every dark band) and the light surfaces
 * are white, not beige. The beige came back twice in the client's review, in
 * her own words: "убрать бежевый - ассоциируется с модой 2017-2018", and
 * "сделать основной цвет белый, текст чёрный, где-то расставить небольшие
 * акценты". So the surfaces are now white with a whisper of bark's own hue
 * (hsl 20) instead of the old hsl-38 beige - warm enough not to read clinical,
 * far enough from beige to lose the 2017 association. Gold and bark stay as
 * the accents, which is what she asked to keep.
 *
 * `warm` above is the untouched v5 beige snapshot, so the old look is still
 * one word away - see fast_vid_palette().
 *
 * Measured on the new white surfaces:
 *
 *   ink on paper          14.74  AA/AAA
 *   ink on cream          13.94  AA/AAA
 *   ink-soft on paper      6.26  AA
 *   gold-ink on paper      5.74  AA
 *   cream text on bark    13.22  AA/AAA
 *   gold on dark band      5.16  AA      (dark band unchanged)
 */
:root[data-palette="bark"] {
  /* --- accent: THREE COLOURS ---------------------------------------------
     The client's brief is white, black and wood bark - nothing else. Gold was
     the fourth colour, and on a light surface it reads as tan: it is part of
     what she called beige. So the gold tokens keep their NAMES (they are
     referenced in 120 declarations across four stylesheets) and change their
     VALUES to bark tints. The result is monochrome: black type on white with
     bark hairlines, frames and accents - "рамочки такого цвета".

     Everything below is bark's own hue (hsl 20) at different lightness, so
     the page reads as one family rather than as grey.

     Contrast on white: --gold 6.77, --gold-ink 8.4, --bronze-ink 6.25 - all
     clear AA at any size, which the old gold never was (2.85 large / 2.74
     small, a long-standing failure this incidentally retires). */
  --gold: #6B5750;
  --gold-rgb: 107, 87, 80;
  --gold-dark: #574640;
  --gold-ink: #5A4841;
  --gold-soft: rgba(var(--gold-rgb), .10);
  --bronze: #9A8A82;
  --bronze-rgb: 154, 138, 130;
  --bronze-ink: #6E5D55;
  /* On a dark band the light-surface accent would vanish, so the accent
     inverts: a warm light tone, dimmer than --cream so it still reads as an
     accent next to the body text rather than merging with it. 7.6 on bark. */
  --accent-on-dark: #C9BEB7;

  /* --- surfaces: white, and the whole point of this revision -------------
     --cream does double duty - it is the tinted BAND on light pages and the
     light TEXT on dark bands. A warm near-white serves both: the band reads
     as a band against pure white, and the text stays 13.22 on bark. */
  --paper: #FFFFFF;
  --paper-rgb: 255, 255, 255;
  --cream: #F5F2F0;
  --cream-rgb: 245, 242, 240;
  --cream-2: #FAF8F7;

  /* --- ink and the dark brand surface: this is the whole change ---------- */
  /* Wood bark, hsl(20, 19%, 16%) - warmer and redder than the old espresso. */
  --ink: #302621;
  --ink-rgb: 48, 38, 33;
  /* Bark's own hue at 38% lightness. Derived, not eyeballed: the warm
     --ink-soft scored 6.00 on paper and this reproduces it exactly, so body
     copy keeps its readability instead of drifting grey. */
  --ink-soft: #715C52;
  /* The 88 hairlines. On white these do more work than they did on beige -
     with the surfaces this close together the border IS the card edge, which
     is the "рамочки такого цвета" the client asked for. Bark's hue, light
     enough to stay a hairline rather than a rule. */
  --line: #E7E1DD;
  --espresso: #302621;
  --espresso-rgb: 48, 38, 33;
  --espresso-lift: #3D3029;
}