Video yükleniyor...

Video Yüklenemedi

Ana Sayfaya Dön

This was a fun one to implement because I've also (afai consciously know) never seen "gradient" selections like this. The ::selection pseudo element doesn't support anything other than flat color so, on selection we sample the height the selected element is sitting at against the matching current state of...

39,668 görüntüleme • 3 gün önce •via X (Twitter)

0 Yorum

Yorum bulunmuyor

Orijinal gönderinin yorumları burada görünecek

Benzer Videolar

CSS Trick! 🤙 You can create gradient borders on translucent elements using mask-clip and mask-composite with a pseudo-element 🔥 .gradient-border::after { mask-clip: padding-box, border-box; mask-composite: intersect; mask: linear-gradient(transparent, transparent), linear-gradient(white, white); } It's the same "Transparent border trick" from before. But, now you apply it to a pseudo-element 😎 The trick is to create a pseudo-element with a gradient background and then mask it so we only see the part we want, the border ✨ mask-clip defines the area affected by a mask. Similar to how you can define background-size. Using padding-box and border-box constrains the two masks. mask-composite is the magic part ✨ It defines a compositing operation for stacked mask layers. Using intersect means that the parts that overlap get replaced. And this seems to work in all browsers 🙌 As for the rest of the styles... – Make sure you set pointer-events: none on the pseudo-element – Make sure it fills the parent element. You can use position: absolute and inset: 0 – Make sure the background fills the space including the border-width. You can use calc to achieve that: --bg-size: calc(100% + (2px * var(--border))); background: var(--gradient) center center / var(--bg-size) var(--bg-size); That's it! 🚀 Gradient borders on translucent elements. You can set all the backdrop-filter: blur() you like! 😅 CodePen.IO link below! 👇

jhey ʕ•ᴥ•ʔ

269,847 görüntüleme • 2 yıl önce

Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)

DepressedBergman

61,555 görüntüleme • 1 yıl önce

Rich Roll on why waiting to "feel like it" is a trap: "You can't think your way into the mood that you seek or the state of mind that you aspire to inhabit. Action is the only thing that can trigger that change." Rich uses running as the perfect illustration of this principle. Imagine you wake up in the morning and you're supposed to do a run because you're training for a race. You don't feel like it. So what do most of us do? "We all resort to that state where we think, 'Well, I don't want to do it right now. I'll just wait until I feel like doing it and then I'll do it then.'" But here's the problem with that logic: "If you're waiting until you feel like doing something, chances are you're probably never going to get to it." The mood you're hoping will arrive on its own? It's not coming. Not without action first. "To take the action despite how you feel about it is the thing that catalyzes the state change." You don't run because you feel motivated. You feel motivated because you ran. He points to what every runner knows from experience: "When they finish the run, they're always glad that they did it. They don't generally regret it. And then they feel better." Notice the sequence. The good feeling comes after the action, not before it. The state change is the reward for showing up, not the prerequisite. And this isn't just about running. As Rich puts it: "That example is applicable to all areas of life." The workout you're avoiding. The conversation you're delaying. The project you're putting off until you're "in the right headspace." You're waiting for a feeling that only exists on the other side of doing the thing.

Kevin Tanaka

10,256 görüntüleme • 3 ay önce