More from Ryan Mulligan
Whether you've barely scratched the surface of keyframe animations in CSS or fancy yourself as a seasoned pro, I suggest reading An Interactive Guide to Keyframe Animations. Josh (as always) does an impeccable deep dive that includes interactive demos for multi-step animations, loops, setting dynamic values, and more. This is a quick post pointing out some other minor particulars: Duplicate keyframe properties The order of keyframe rules Custom timing function (easing) values at specific keyframes Duplicate keyframe properties Imagine an "appearance" animation where an element slides down, scales up, and changes color. The starting 0% keyframe sets the element's y-axis position and scales down the size. The element glides down to its initial position for the full duration of the animation. About halfway through, the element's size is scaled back up and the background color changes. At first, we might be tempted to duplicate the background-color and scale properties in both 0% and 50% keyframe blocks. @keyframes animate { 0% { background-color: red; scale: 0.5; translate: 0 100%; } 50% { background-color: red; scale: 0.5; } 100% { background-color: green; scale: 1; translate: 0 0; } } Although this functions correctly, it requires us to manage the same property declarations in two locations. Instead of repeating, we can share them in a comma-separated ruleset. @keyframes animate { 0% { translate: 0 100%; } 0%, 50% { background-color: red; scale: 0.5; } 100% { background-color: green; scale: 1; translate: 0 0; } } Keyframe rules order Another semi-interesting qwirk is that we can rearrange the keyframe order. @keyframes animate { 0% { translate: 0 100%; } 100% { background-color: green; scale: 1; translate: 0 0; } /* Set and hold values until halfway through animation */ 0%, 50% { background-color: red; scale: 0.5; } } "Resolving Duplicates" from the MDN docs mentions that @keyframes rules don't cascade, which explains why this order still returns the expected animation. Customizing the order could be useful for grouping property changes within a @keyframes block as an animation becomes more complex. That same section of the MDN docs also points out that cascading does occur when multiple keyframes define the same percentage values. So, in the following @keyframes block, the second translate declaration overrides the first. @keyframes animate { to { translate: 0 100%; rotate: 1turn; } to { translate: 0 -100%; } } Keyframe-specific easing Under "Timing functions for keyframes" from the CSS Animations Level 1 spec, we discover that easing can be adjusted within a keyframe ruleset. A keyframe style rule may also declare the timing function that is to be used as the animation moves to the next keyframe. Toggle open the CSS panel in the ensuing CodePen demo and look for the @keyframes block. Inside one of the percentages, a custom easing is applied using the linear() CSS function to give each element some wobble as it lands. Open CodePen demo I think that looks quite nice! Adding keyframe-specific easing brings an extra layer of polish and vitality to our animations. One minor snag, though: We can't set a CSS variable as an animation-timing-function value. This unfortunately means we're unable to access shared custom easing values, say from a library or design system. :root { --easeOutCubic: cubic-bezier(0.33, 1, 0.68, 1); } @keyframes { 50% { animation-timing-function: var(--easeOutCubic); } } Helpful resources An Interactive Guide to Keyframe Animations @keyframes on MDN Easing Functions Cheat Sheet Linear easing generator The Path To Awesome CSS Easing With The linear() Function
Once again, here I am, hackin' away on horizontal scroll ideas. This iteration starts with a custom HTML tag. All the necessities for scroll overflow, scroll snapping, and row layout are handled with CSS. Then, as a little progressive enhancement treat, button elements are connected that scroll the previous or next set of items into view when clicked. Behold! The holy grail of scrolling rails... the scrolly-rail! CodePen demo GitHub repo Open CodePen demo I'm being quite facetious about the "holy grail" part, if that's not clear. 😅 This is an initial try on an idea I'll likely experiment more with. I've shared some thoughts on potential future improvements at the end of the post. With that out of the way, let's explore! The HTML Wrap any collection of items with the custom tag: <scrolly-rail> <ul> <li>1</li> <li>2</li> <li>3</li> <!-- and so on--> </ul> </scrolly-rail> The custom element script checks if the direct child within scrolly-rail is a wrapper element, which is true for the above HTML. While it is possible to have items without a wrapper element, if the custom element script runs and button controls are connected, sentinel elements are inserted at the start and end bounds of the scroll container. Wrapping the items makes controlling spacing between them much easier, avoiding any undesired gaps appearing due to these sentinels. We'll discover what the sentinels are for later in the post. The CSS Here are the main styles for the component: scrolly-rail { display: flex; overflow-x: auto; overscroll-behavior-x: contain; scroll-snap-type: x mandatory; @media (prefers-reduced-motion: no-preference) { scroll-behavior: smooth; } } When JavaScript is enabled, sentinel elements are inserted before and after the unordered list (<ul>) element in the HTML example above. Flexbox ensures that the sentinels are positioned on either side of the element. We'll find out why later in this post. Containing the overscroll behavior will prevent us accidentally triggering browser navigation when scrolling beyond either edge of the scrolly-rail container. scroll-snap-type enforces mandatory scroll snapping. Smooth scrolling behavior applies when items scroll into view on button click, or if interactive elements (links, buttons, etc.) inside items overflowing the visible scroll area are focused. Finally, scroll-snap-align: start should be set on the elements that will snap into place. This snap position aligns an item to the beginning of the scroll snap container. In the above HTML, this would apply to the <li> elements. scrolly-rail li { scroll-snap-align: start; } As mentioned earlier, this is everything our component needs for layout, inline scrolling, and scroll snapping. Note that the CodePen demo takes it a step further with some additional padding and margin styles (check out the demo CSS panel). However, if we'd like to wire up controls, we'll need to include the custom element script in our HTML. The custom element script Include the script file on the page. <script type="module" src="scrolly-rail.js"></script> To connect the previous/next button elements, give each an id value and add these values to the data-control-* attributes on the custom tag. <scrolly-rail data-control-previous="btn-previous" data-control-next="btn-next" > <!-- ... --> </scrolly-rail> <button id="btn-previous" class="btn-scrolly-rail">Previous</button> <button id="btn-next" class="btn-scrolly-rail">Next</button> Now clicking these buttons will pull the previous or next set of items into view. The amount of items to scroll by is based on how many are fully visible in the scroll container. For example, if we see three visible items, clicking the "next" button will scroll the subsequent three items into view. Observing inline scroll bounds Notice that the "previous" button element in the demo's top component. As we begin to scroll to the right, the button appears. Scrolling to the end causes the "next" button to disappear. Similarly, for the bottom component we can see either button fade when their respective scroll bound is reached. Recall the sentinels discussed earlier in this post? With a little help from the Intersection Observer API, the component watches for either sentinel intersecting the visible scroll area, indicating that we've reached a boundary. When this happens, a data-bound attribute is toggled on the respective button. This presents the opportunity to alter styles and provide additional visual feedback. .btn-scrolly-rail { /** default styles */ } .btn-scrolly-rail[data-bound] { /* styles to apply to button at boundary */ } Future improvements I'd love to hear from the community most specifically on improving the accessibility story here. Here are some general notes: I debated if button clicks should pass feedback to screen readers such as "Scrolled next three items into view" or "Reached scroll boundary" but felt unsure if that created unforeseen confusion. For items that contain interactive elements: If a new set of items scroll into view and a user tabs into the item list, should the initial focusable element start at the snap target? This could pair well with navigating the list using keyboard arrow keys. Is it worth authoring intersecting sentinel "enter/leave" events that we can listen for? Something like: Scroll bound reached? Do a thing. Leaving scroll bound? Revert the thing we just did or do another thing. Side note: prevent these events from firing when the component script initializes. How might this code get refactored once scroll snap events are widely available? I imagine we could check for when the first or last element becomes the snap target to handle toggling data-bound attributes. Then we can remove Intersection Observer functionality. And if any folks have other scroll component solutions to share, please reach out or open an issue on the repo.
Over the last few months or so, I have been fairly consistent with getting outside for Sunday morning runs. A series of lower body issues had prevented me from doing so for many years, but it was an exercise I had enjoyed back then. It took time to rebuild that habit and muscle but I finally bested the behavior of doing so begrudgingly. Back in the day (what a weird phrase to say, how old am I?) I would purchase digital copies of full albums. I'd use my run time to digest the songs in the order the artist intended. Admittedly, I've become a lazy listener now, relying on streaming services to surface playlists that I mindlessly select to get going. I want to be better than that, but that's a story for another time. These days, my mood for music on runs can vary: Some sessions I'll pop in headphones and throw on some tunes, other times I head out free of devices (besides a watch to track all those sweet, sweaty workout stats) and simply take in the city noise. Before I headed out for my journey this morning, a friend shared a track from an album of song covers in tribute to The Refused's The Shape Of Punk To Come. The original is a treasured classic, a staple LP from my younger years, and I can still remember the feeling of the first time it struck my ears. Its magic is reconjured every time I hear it. When that reverb-soaked feedback starts on Worms of the Senses / Faculties of the Skull, my heart rate begins to ascend. The anticipation builds, my entire body well aware of the explosion of sound imminent. As my run began, I wasn't sure if I had goosebumps from the morning chill or the wall of noise about to ensue. My legs were already pumping. I was fully present, listening intently, ready for the blast. The sound abruptly detonated sending me rocketing down the street towards the rising sun. My current running goal is 4-in-40, traversing four miles under forty minutes. I'm certainly no Prefontaine, but it's a fair enough objective for my age and ability. I'll typically finish my journey in that duration or slightly spill over the forty-minute mark. Today was different. Listening to The Shape Of Punk To Come sent me cruising an extra quarter mile beyond the four before my workout ended. The unstoppable energy from that album is truly pure runner's fuel. There's certainly some layer of nostalgia, my younger spirit awakened and reignited by thrashing guitars and frantic rhythms, but many elements and themes on this record were so innovative at the time it was released. New Noise is a prime example that executes the following feeling flawlessly: Build anticipation, increase the energy level, and then right as the song seems prepped to blast off, switch to something unexpected. In this case, the guitars drop out to make way for some syncopated celestial synths layered over a soft drum rhythm. The energy sits in a holding pattern, unsure whether it should burst or cool down, when suddenly— Can I scream?! Oh my goodness, yes. Yes you can. I quickly morphed into a runner decades younger. I had erupted, my entire being barreling full speed ahead. The midpoint of this track pulls out the same sequence of build up, drop off, and teasing just long enough before unleashing another loud burst of noise, driving to its explosive outro. As the song wraps up, "The New Beat!" is howled repeatedly to a cheering crowd that, I would imagine, had not been standing still. I definitely needed a long stretch after this run.
I recently stumbled on a super cool, well-executed hover effect from the clerk.com website where a bloom of tiny pixels light up, their glow staggering from the center to the edges of its container. With some available free time over this Thanksgiving break, I hacked together my own version of a pixel canvas background shimmer. It quickly evolved into a pixel-canvas Web Component that can be enjoyed in the demo below. The component script and demo code have also been pushed up to a GitHub repo. Open CodePen demo Usage Include the component script and then insert a pixel-canvas custom element inside the container it should fill. <script type="module" src="pixel-canvas.js"></script> <div class="container"> <pixel-canvas></pixel-canvas> <!-- other elements --> </div> The pixel-canvas stretches to the edges of the parent container. When the parent is hovered, glimmering pixel fun ensues. Options The custom element has a few optional attributes available to customize the effect. Check out the CodePen demo's html panel to see how each variation is made. data-colors takes a comma separated list of color values. data-gap sets the amount of space between each pixel. data-speed controls the general duration of the shimmer. This value is slightly randomized on each pixel that, in my opinion, adds a little more character. data-no-focus is a boolean attribute that tells the Web Component to not run its animation whenever sibling elements are focused. The animation runs on sibling focus by default. There's likely more testing and tweaking necessary before I'd consider using this anywhere, but my goal was to run with this inspiration simply for the joy of coding. What a mesmerizing concept. I tip my hat to the creative engineers over at Clerk.
So there I was, experimenting with HTML password inputs and Web Components. I'm not sure why the idea even came up but it quickly snowballed into a curious expedition. The result from the journey was a set of custom elements that provide extra functionality and information about the text being typed into a password input field. I shared my CodePen demo in a Mastodon post and soon after decided to push these scripts up to a GitHub repo. Open CodePen demo Get started The repo includes two Web Component scripts. They operate independent of one another. I recommend reading through the repo documentation but here's a rundown of what's included. <password-rules> adds an input event listener to capture when a list of rules (password length, includes an uppercase letter, etc.) are matched as the user is typing in their new password. <password-toggle> shows and hides the password input value on click. To get started, add the scripts to a project and include them on the page. <script type="module" src="path/to/password-rules.js"></script> <script type="module" src="path/to/password-toggle.js"></script> Below is an example of using both custom elements with a password input. <label for="new-password">Password</label> <input type="password" id="new-password" /> <div id="status" aria-live="polite"></div> <password-toggle data-input-id="new-password" data-status-id="status"> <button type="button">Toggle password visibility</button> </password-toggle> <password-rules data-input-id="new-password" data-rules=".{9}, [A-Z], .*\d"> <ul> <li data-rule-index="0">Longer than 8 characters</li> <li data-rule-index="1">Includes an uppercase letter</li> <li data-rule-index="2">Includes a number</li> </ul> </password-rules> Password toggle password-toggle expects a button element to be inside it. This button will be augmented with the ability to toggle the visibility of the input field's value. When the toggle button is clicked, the "status" element containing the aria-live attribute will send a notification to screen readers that the password value is currently visible or hidden. For instance, when clicking for the first time, the string "Password is visible" is inserted into the container and announced by a screen reader. We can also style the toggle button when it enters its pressed or "visible password" state. In the CodePen demo, this is how the eye icon (aye aye!) is being swapped. button svg:last-of-type { display: none; } button[aria-pressed="true"] { svg:first-of-type { display: none; } svg:last-of-type { display: block; } } Targeting the [aria-pressed] attribute selector ensures that our styles stay in sync with their accessibility counterpart. It also means that we don't need to manage a semantic attribute value as well as some generic class selector like "is-active". Ben Myers shares great knowledge on this subject in Style with stateful, semantic selectors. A must-have in the bookmarks 🏆 Password rules The password-rules element is passed a comma-separated list of regular expression strings, each related to a specific rule. We also have the option to connect any child element to a rule by passing the index of that string to a data-rule-index attribute. The placement or type of element doesn't matter as long as it's contained within the password-rules. Here's an alternate version to drive that point home: <password-rules data-input-id="new-password" data-rules=".{8}, [A-Z], .*\d"> <div class="one-column" data-rule-index="0"> Longer than 8 characters </div> <div class="two-columns"> <span data-rule-index="2">Includes a number</span> <span data-rule-index="1">Includes an uppercase letter</span> </div> </password-rules> Check it off When a rule is met that matches the data-rule-index value on an element, an is-match class gets added to the element. The demo styles use this selector to add a checkmark emoji when present. .password-rules__checklist .is-match::before { content: "✅"; } score/total The current password "score" and rules "total" are passed to the custom element as data attributes and CSS variables. The score value updates as rules are met. This allows us to do some fancy things like change the colors in a score meter and present the current tally. All of it done with CSS. /** Incrementally adjust background colors */ password-rules[data-score="1"] .password-rules__meter :first-child, password-rules[data-score="2"] .password-rules__meter :nth-child(-n + 2), password-rules[data-score="3"] .password-rules__meter :nth-child(-n + 3), password-rules[data-score="4"] .password-rules__meter :nth-child(-n + 4) { background-color: dodgerblue; } /** When all rules are met, swap to a new color for each meter element */ password-rules[data-score="5"] .password-rules__meter :nth-child(-n + 5) { background-color: mediumseagreen; } CSS variables are passed into a CSS counter() to render the current score and total. .password-rules__score::before { counter-reset: score var(--score, 0) total var(--total, 5); content: counter(score) "/" counter(total); } I added fallback values to the CSS variables when I realized that the --total value, specifically, renders as 0 on page load and doesn't update until we begin typing in the input field. I did discover that we could skip the fallback by registering the custom property. This ensures the total is correctly reflected when the component initializes. But, to be honest, this feels unnecessary when the fallback here will suffice. @property --total { syntax: "<number>"; initial-value: 0; inherits: true; } If this @property stuff is unfamiliar, Stephanie Eckles has got you covered in Providing Type Definitions for CSS with @property. Another one to bookmark! I've also recently spent time with this newly supported at-rule in CSS @property and the New Style. Progressively enhanced for the win I believe this tells a fairly nice progressive enhancement story. Without JavaScript, the password input still works as expected. But when these scripts run, users get additional feedback and interactivity. Developers get access to extra selectors that can be useful for styling state changes. And listen, I get it–there are better ways to handle client-side form validation, but this was a fun exploration nonetheless.
More in design
John Gruber has a post about how Google’s search results now require JavaScript[1]. Why? Here’s Google: the change is intended to “better protect” Google Search against malicious activity, such as bots and spam Lol, the irony. Let’s turn to JavaScript for protection, as if the entire ad-based tracking/analytics world born out of JavaScript’s capabilities isn’t precisely what led to a less secure, less private, more exploited web. But whatever, “the web” is Google’s product so they can do what they want with it — right? Here’s John: Old original Google was a company of and for the open web. Post 2010-or-so Google is a company that sees the web as a de facto proprietary platform that it owns and controls. Those who experience the web through Google Chrome and Google Search are on that proprietary not-closed-per-se-but-not-really-open web. Search that requires JavaScript won’t cause the web to die. But it’s a sign of what’s to come (emphasis mine): Requiring JavaScript for Google Search is not about the fact that 99.9 percent of humans surfing the web have JavaScript enabled in their browsers. It’s about taking advantage of that fact to tightly control client access to Google Search results. But the nature of the true open web is that the server sticks to the specs for the HTTP protocol and the HTML content format, and clients are free to interpret that as they see fit. Original, novel, clever ways to do things with website output is what made the web so thrilling, fun, useful, and amazing. This JavaScript mandate is Google’s attempt at asserting that it will only serve search results to exactly the client software that it sees fit to serve. Requiring JavaScript is all about control. The web was founded on the idea of open access for all. But since that’s been completely and utterly abused (see LLM training datasets) we’re gonna lose it. The whole “freemium with ads” model that underpins the web was exploited for profit by AI at an industrial scale and that’s causing the “free and open web” to become the “paid and private web”. Universal access is quickly becoming select access — Google search results included. If you want to go down a rabbit hole of reading more about this, there’s the TechCrunch article John cites, a Hacker News thread, and this post from a company founded on providing search APIs. ⏎ Email :: Mastodon :: Bluesky #generalNotes
My thoughts about the Zettelkasten (Slip box) note taking methodology invented by the German sociologist Niklas Luhmann.
Chinese interior studio Various Associates has completed an irregular pyramid-shaped flagship store for drone brand DJI in Shenzhen, China. Located...
AI promises to automate both work and leisure. What will we do then? In 2005, I lived high up on a hill in Penang, from where I could literally watch the tech industry reshape the island and the nearby mainland. The common wisdom then was that automation would soon empty the factories across the country. Today, those same factories not only buzz with human activity — they’ve expanded dramatically, with manufacturing output up 130% and still employing 16% of Malaysia’s workforce. The work has shifted, evolved, adapted. We’re remarkably good at finding new things to do. I think about this often as I navigate my own relationship with AI tools. Last week, I asked an AI to generate some initial concepts for a client project — work that would have once filled pages of my sketchbook. As I watched the results populate my screen, my daughter asked what I was doing. “Letting the computer do some drawing for me,” I said. She considered this for a moment, then asked, “But you can draw already. If the computer does it for you, what will you do?” It’s the question of our age, isn’t it? As AI promises to take over not just routine tasks but creative ones — writing, design, music composition — we’re facing a prolonged period of anxiety. Not just about losing our jobs, but about losing our purpose. The industrial revolution promised to free us from physical labor and the digital revolution promised to free us from mental drudgery. Yet somehow we’ve ended up more stretched, more scheduled, more occupied than ever. Both were very real technological transitional periods; both had significant, measurable impacts on the economies of their time; neither ushered in a golden age of leisure. History shows that we — in the broadest sense — adapt. But here’s something to consider: adaptation takes time. At the height of the pre-industrial textile industry, 20% of all women and children in England were employed, hand-spinning textile fibers. This was in the late 18th century. Over the course of the following forty years, a process of mechanization took place that almost completely obviated the need for that particular workforce. But children working as hand-spinners at the pre-industrial height would have been well past middle-age by the time child-employment was no longer common. The transitional period would have lasted nearly the entirety of their working lives. Similarly, the decline of manufacturing in the United States elapsed over a period of nearly fifty years, from its peak in the mid-1960s to 2019, when a net loss of 3.5 million jobs was measured. Again, this transition was career-length — generational. In both transitions, new forms of work became available that would have been unforeseen prior to change being underway. We are only a handful of years into what we may someday know as the AI Revolution. It seems to be moving at a faster pace than either of its historical antecedents. Perhaps it truly is. Nevertheless, historical adaptation suggests that we look forward to the new kinds of work this transition will make a way for us to do. I wonder what they may be. AI, after all, isn’t just a faster way to accomplish specific tasks; investment in it suggests an expectation for much grander than that, on the order of anything that can be reduced to pattern recognition and reproduction. As it turns out, that’s most of what we do. So what’s left? What remains uniquely human when machines can answer our questions, organize and optimize our world, entertain us, and create our art? The answer might lie in the spaces between productivity — in the meaningful inefficiencies that machines are designed to eliminate. AI might be able to prove this someday, but anecdotally, it’s in the various moments of friction and delay throughout my day that I do my most active and creative thinking. While waiting for the water to heat up. Walking my dog. Brewing coffee. Standing in line. Maybe we’re approaching a grand reversal: after centuries of humans doing machine-like work, perhaps it’s time for humans to become more distinctly human. To focus not on what’s efficient or productive, but on what’s meaningful precisely because it can’t be automated: connection, contemplation, play. But this requires a radical shift in how we think about time and purpose. For generations, we’ve defined ourselves by our work, measured our days by our output. As AI threatens to take both our labor and our creative outlets, we will need to learn — or remember — how to exist without constant production and how to separate our basic human needs from economies of scale. The factories of Malaysia taught me something important: automation doesn’t move in a straight line. Human ingenuity finds new problems to solve, new work to do, new ways to be useful. But as AI promises to automate not just our labor but our leisure, we might finally be forced to confront the question my daughter so innocently posed: what will we do instead? This will not be easy. The answer, I hope, lies not just in finding new forms of work to replace the old, but in discovering what it means to be meaningfully unoccupied. The real challenge of the AI age might not be technological at all, but existential: learning to value the empty hours not for what we can fill them with, but for what they are. I believe in the intrinsic value of human life; one’s worth is no greater after years of labor and the accumulation of wealth and status than it was at its beginning. Life cannot be earned, just lived. This is a hard lesson. Wouldn’t it be strange if the most able teacher was not human but machine?
Let me tell you about one of the best feelings. You have a problem. You bang your head on it for a while. Through the banging, you formulate a string of keywords describing the problem. You put those words into a search engine. You land on a forum or a blog post and read someone else’s words containing those keywords and more. Their words resonate with you deeply. They’re saying the exact same things you were saying to yourself in your head. You immediately know, “This person gets it!” You know they have an answer to your problem. They’ve seen what you’re seeing. And on top of it all, they provide a solution which fixes your problem! A sense of connection is now formed. You feel validated, understood, seen. They’ve been through what you’re going through, and they wrote about it to reach out to you — across time and space. I fell in love with the web for this reason, this feeling of connection. You could search the world and find someone who saw what you see, felt what you feel, went through what you’re going through. Contrast that with today. Today you have a problem. You bang your head on it. You ask a question in a prompt. And you get back something. But there’s no human behind it. Just a machine which takes human voices and de-personalizes them until the individual point of view is annihilated. And so too with it the sense of connection — the feeling of being validated, understood, seen. Every prompt a connection that could have been. A world of missed connections. Email :: Mastodon :: Bluesky