Fourth Edition
Visual Presentation for the Web
Eric A. Meyer and Estelle Weyl
by Eric A. Meyer and Estelle Weyl
Copyright © 2018 Eric Meyer, Estelle Weyl. All rights reserved.
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978-1-449-39319-9
[LSI]
To Kat, Carolyn, Rebecca, and Joshua.
—E.M.
To Amie.
—E.W.
If you are a web designer or document author interested in sophisticated page styling, improved accessibility, and saving time and effort, this book is for you. All you really need to know before starting the book is HTML 4.0. The better you know HTML, the better prepared you’ll be, but it is not a requirement. You will need to know very little else to follow this book.
This fourth edition of the book was finished in mid-2017 and does its best to reflect the state of CSS at that time. The assumption is that anything covered in detail either had wide browser support at the time of writing or was known to be coming soon after publication. CSS features which were still being developed, or were known to have support dropping soon, are not covered here.
The following typographical conventions are used in this book (but make sure to read through the subsection “Value Syntax Conventions” to see how some of these are modified):
Indicates new terms, URLs, email addresses, filenames, and file extensions.
Constant widthUsed for program listings, as well as within paragraphs to refer to program elements such as variable or function names, databases, data types, environment variables, statements, and keywords.
Constant width boldShows commands or other text that should be typed literally by the user.
Constant width italicShows text that should be replaced with user-supplied values or by values determined by context.
This element signifies a tip or suggestion.
This element signifies a general note.
This element indicates a warning or caution.
Throughout this book, there are boxes that break down a given CSS property’s details, including what values are permitted. These have been reproduced practically verbatim from the CSS specifications, but some explanation of the syntax is in order.
Throughout, the allowed values for each property are listed with a syntax like the following:
Value: <family-name>#
Value: <url> ‖ <color>
Value: <url>? <color> [ / <color> ]?
Value: [ <length> | thick | thin ]{1,4}
Any italicized words between “<” and “>” give a type of value, or a reference to another property’s values. For example, the property font accepts values that originally belong to the property font-family. This is denoted by using the text <font-family>. Similarly, if a value type like a color is permitted, it will be represented using <color>.
Any words presented in constant width are keywords that must appear literally, without quotes. The forward slash (/) and the comma (,) must also be used literally.
There are a number of ways to combine components of a value definition:
Two or more keywords strung together with only space separating them means that all of them must occur in the given order. For example, help me would mean that the property must use those keywords in that order.
If a vertical bar separates alternatives (X | Y), then any one of them must occur, but only one. Given “[ X | Y | Z ]”, then any one of X, Y, or Z is permitted.
A vertical double bar (X ‖ Y) means that X, Y, or both must occur, but they may appear in any order. Thus: X, Y, X Y, and Y X are all valid interpretations.
A double ampersand (X && Y) means both X and Y must occur, though they may appear in any order. Thus: X Y or Y X are both valid interpretations.
Brackets ([…]) are for grouping things together. Thus “[please ‖ help ‖ me] do this” means that the words please, help, and me can appear in any order, though each appear only once. do this must always appear, with those words in that order. Some examples: please help me do this, help me please do this, me please help do this.
Every component or bracketed group may (or may not) be followed by one of these modifiers:
An asterisk (*) indicates that the preceding value or bracketed group is repeated zero or more times. Thus, “bucket*” means that the word bucket can be used any number of times, including zero. There is no upper limit defined on the number of times it can be used.
A plus (+) indicates that the preceding value or bracketed group is repeated one or more times. Thus, “mop+” means that the word mop must be used at least once, and potentially many more times.
An octothorpe (#) indicates that the preceding value or bracketed group is repeated one or more times, separated by commas as needed. Thus, “floor#” can be floor, floor, floor, floor, and so on. This is most often used in conjunction with bracketed groups or value types.
A question mark (?) indicates that the preceding value or bracketed group is optional. For example, “[pine tree]?” means that the words pine tree need not be used (although they must appear in that order if they are used).
An exclamation point (!) indicates that the preceding value or bracketed group is required, and thus must result in at least one value, even if the syntax would seem to indicate otherwise. For example, “[ what? is? happening? ]!” must be at least one of the three terms marked optional.
A pair of numbers in curly braces ({M,N}) indicates that the preceding value or bracketed group is repeated at least M and at most N times. For example, ha{1,3} means that there can be one, two, or three instances of the word ha.
The following are some examples:
give ‖ me ‖ libertyAt least one of the three words must be used, and they can be used in any order. For example, give liberty, give me, liberty me give, and give me liberty are all valid interpretations.
I | am ]? the ‖ walrusEither the word I or am may be used, but not both, and use of either is optional. In addition, either the or walrus, or both, must follow in any order. Thus you could construct I the walrus, am walrus the, am the, I walrus, walrus the, and so forth.
koo+ ka-chooOne or more instances of koo must be followed by ka-choo. Therefore koo koo ka-choo, koo koo koo ka-choo, and koo ka-choo are all legal. The number of koos is potentially infinite, although there are bound to be implementation-specific limits.
I really{1,4}? [ love | hate ] [ Microsoft | Netscape | Opera | Safari | Chrome ]The all-purpose web designer’s opinion-expresser. This can be interpreted as I love Netscape, I really love Microsoft, and similar expressions. Anywhere from zero to four reallys may be used, though they may not be separated by commas. You also get to pick between love and hate, which really seems like some sort of metaphor.
It’s a [ mad ]# worldThis gives the opportunity to put in as many comma-separated mads as possible, with a minimum of one mad. If there is only one mad, then no comma is added. Thus: It’s a mad world and It’s a mad, mad, mad, mad, mad world are both valid results.
Alpha ‖ Baker ‖ Cray ], ]{2,3} and DelphiTwo to three of Alpha, Baker, and Delta must be followed by and Delphi. One possible result would be Cray, Alpha, and Delphi. In this case, the comma is placed because of its position within the nested bracket groups. (Some older versions of CSS enforced comma-separation this way, instead of via the # modifier.)
Whenever you come across an icon that looks like
, it means there is an associated code example. Live examples are available at https://meyerweb.github.io/csstdg4figs/. If you are reading this book on a device with an internet connection, you can click the
icon to go directly to a live version of the code example referenced.
Supplemental material—in the form of the HTML, CSS, and image files that were used to produce nearly all of the figures in this book—is available for download at https://github.com/meyerweb/csstdg4figs. Please be sure to read the repository’s README.md file for any notes regarding the contents of the repository.
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This edition was one of the most challenging projects I’ve ever undertaken, for both technical and personal reasons, and I was helped immeasurably along the way by so many people. I’ll do my best to remember everyone, but if I left you out, I am sorry.
To the creators of CSS, Håkon Wium Lie and Bert Bos, thank you for your foresight. The web would be a much poorer place without your work.
To the implementors at various browser makers who have done so much, and come so far together, thank you making so many things possible.
To git, the version-control software, my thanks for the last-minute rescue when it was discovered that an entire chapter (“Lists and Generated Content”) had gone missing, but was easily restored from past commits.
Special thanks are due to Simon St. Laurent, who believed in my ideas for releasing a book one chapter at a time, who kept the project waiting for me when I had to take an extended period of time away, and who worked tirelessly with me to move things forward in whatever way I proposed.
To my co-author, Estelle, for stepping up to help me out when I needed it, for your keen reviewers’ eye, and for your wonderful contributions to this edition, all my gratitude.
A number of other people helped me understand CSS when it didn’t make sense to me, often going several rounds of explanation. Some of them go back a few editions, but most of them helped me adjust to the new patterns in CSS for this edition. Alphabetically, by last name: Rachel Andrew, Rossen Atanossov, Tab Atkins, Amelia Bellamy-Royds, Dave Cramer, Elika Etemad, Jen Simmons, Sara Soueidan, Mel Sumner, and Greg Whitworth. My abject apologies to anyone I left off by oversight.
To the whole community of web designers and developers who stood with me through the hardest passage I have ever known, friends and colleagues and strangers alike, I owe you more than I could ever say. In some ways, I owe you my life. Thank you for hearing me.
And to my family—my wife Kat, and my children Carolyn, Rebecca, and Joshua—you are the home that shelters me, the suns in my sky and the stars by which I steer. I could never have come this far without you. Thank you for everything.
I would like to acknowledge everyone who has worked to make CSS what it is today and all those who have helped improve diversity and inclusion in tech.
I would like to recognize those who work tirelessly with browser vendors and developers in writing the CSS specifications. Without the members of the CSS Working Group—past, current, and future—we would have no specifications, no standards, and no cross-browser compatibility. I am in awe of the thought process that goes into every CSS property and value added to, and omitted from, the specification. People like Tab Atkins, Elika Emitad, Dave Baron, Léonie Watson, and Greg Whitworth not only work on the specification, but also take their time to answer questions and explain nuances to the broader CSS public, notably me.
I also want to acknowledge all those who, whether they participate in the CSS Working Group or not, dive deep into CSS features and help translate the spec for the rest of us, including Sarah Drasner, Val Head, Sara Souidan, Chris Coyier, Jen Simmons, and Rachel Andrew. In addition, I want to acknowledge and thank people who create tools that make all CSS developers lives easier, especially Alexis Deveria for creating and maintaining https://caniuse.com/.
I would also like to acknowledge and express my appreciation of all those who have contributed their time and effort to improve diversity and inclusion in all sectors of the developer community. Yes, CSS is awesome. But it’s important to work with great people in a great community.
When I attended my first tech conference in 2007, the lineup was 93% male and 100% white. The audience had slightly less gender diversity and only slightly more ethnic diversity. I had actually picked that conference because the lineup was more diverse than most: it actually had a woman on it. Looking around the room, I knew things needed to change, and I realized it was something I needed to do. What I didn’t realize then was how many unsung heroes I would meet over the next 10 years working for diversity and inclusion in all areas of the tech sector and life in general.
There are too many people who work tirelessly, quietly, and often with little or no recognition to name them all, but I would like to highlight some. I can not express how much of a positive impact people like Erica Stanley of Women Who Code Atlanta, Carina Zona of Callback Women, and Jenn Mei Wu of Oakland Maker Space have had. Groups like The Last Mile, Black Girls Code, Girls Incorporated, Sisters Code, and so many others inspired me to create a list at http://www.standardista.com/feeding-the-diversity-pipeline/ to help ensure the path to a career in web development is not only for those with privilege.
Thank you to all of you. Thank you to everyone. Thanks to all of your efforts, more has been done than I ever could have imagined sitting in that conference 10 years ago.
Cascading Style Sheets (CSS) is a powerful tool that transforms the presentation of a document or a collection of documents, and it has spread to nearly every corner of the web and into many ostensibly non-web environments. For example, Gecko-based browsers use CSS to affect the presentation of the browser chrome itself, many RSS clients let you apply CSS to feeds and feed entries, and some instant message clients use CSS to format chat windows. Aspects of CSS can be found in the syntax used by JavaScript frameworks, and even in JavaScript itself. It’s everywhere!
CSS was first proposed in 1994, just as the web was beginning to really catch on. At the time, browsers gave all sorts of styling power to the user—the presentation preferences in Mosaic, for example, permitted all manner of font family, size, and color to be defined by the user on a per-element basis. None of this was available to document authors; all they could do was mark a piece of content as a paragraph, as a heading of some level, as preformatted text, or one of a handful of other element types. If a user configured his browser to make all level-one headings tiny and pink and all level-six headings huge and red, well, that was his lookout.
It was into this milieu that CSS was introduced. Its goal was to provide a simple, declarative styling language that was flexible for authors and, most importantly, provided styling power to authors and users alike. By means of the “cascade,” these styles could be combined and prioritized so that both authors and readers had a say—though readers always had the last say.
Work quickly advanced, and by late 1996, CSS1 was finished. While the newly established CSS Working Group moved forward with CSS2, browsers struggled to implement CSS1 in an interoperable way. Although each piece of CSS was fairly simple on its own, the combination of those pieces created some surprisingly complex behaviors. There were also some unfortunate missteps in early implementations, such as the infamous discrepancy in box model implementations. These problems threatened to derail CSS altogether, but fortunately some clever proposals were implemented, and browsers began to harmonize. Within a few years, thanks to increasing interoperability and high-profile developments such as the CSS-based redesign of Wired magazine and the CSS Zen Garden, CSS began to catch on.
Before all that happened, though, the CSS Working Group had finalized the CSS2 specification in early 1998. Once CSS2 was finished, work immediately began on CSS3, as well as a clarified version of CSS2 called CSS2.1. In keeping with the spirit of the times, CSS3 was constructed as a series of (theoretically) standalone modules instead of a single monolithic specification. This approach reflected the then-active XHTML specification, which was split into modules for similar reasons.
The rationale for modularizing CSS3 was that each module could be worked on at its own pace, and particularly critical (or popular) modules could be advanced along the W3C’s progress track without being held up by others. Indeed, this has turned out to be the case. By early 2012, three CSS3 modules (along with CSS1 and CSS 2.1) had reached full Recommendation status—CSS Color Level 3, CSS Namespaces, and Selectors Level 3. At that same time, seven modules were at Candidate Recommendation status, and several dozen others were in various stages of Working Draft-ness. Under the old approach, colors, selectors, and namespaces would have had to wait for every other part of the specification to be done or cut before they could be part of a completed specification. Thanks to modularization, they didn’t have to wait.
The flip side of that advantage is that it’s hard to speak of a single “CSS3 specification.” There isn’t any such thing, nor can there be. Even if every other CSS module had reached level 3 by, say, late 2016 (they didn’t), there was already a Selectors Level 4 in process. Would we then speak of it as CSS4? What about all the “CSS3” features still coming into play? Or Grid Layout, which had not then even reached Level 1?
So while we can’t really point to a single tome and say, “There is CSS3,” we can talk of features by the module name under which they are introduced. The flexibility modules permit more than makes up for the semantic awkwardness they sometimes create. (If you want something approximating a single monolithic specification, the CSS Working Group publishes yearly “Snapshot” documents.)
With that established, we’re almost ready to start understanding CSS. First though, we must go over markup.
Elements are the basis of document structure. In HTML, the most common elements are easily recognizable, such as p, table, span, a, and div. Every single element in a document plays a part in its presentation.
Although CSS depends on elements, not all elements are created equally. For example, images and paragraphs are not the same type of element, nor are span and div. In CSS, elements generally take two forms: replaced and nonreplaced.
Replaced elements are those where the element’s content is replaced by something that is not directly represented by document content. Probably the most familiar HTML example is the img element, which is replaced by an image file external to the document itself. In fact, img has no actual content, as you can see in this simple example:
<imgsrc="howdy.gif">
This markup fragment contains only an element name and an attribute. The element presents nothing unless you point it to some external content (in this case, an image specified by the src attribute). If you point to a valid image file, the image will be placed in the document. If not, it will either display nothing or the browser will show a “broken image” placeholder.
Similarly, the input element can also be replaced—by a radio button, checkbox, or text input box, depending on its type.
The majority of HTML elements are nonreplaced elements. This means that their content is presented by the user agent (generally a browser) inside a box generated by the element itself. For example, <span>hi there</span> is a nonreplaced element, and the text “hi there” will be displayed by the user agent. This is true of paragraphs, headings, table cells, lists, and almost everything else in HTML.
In addition to replaced and nonreplaced elements, CSS uses two other basic types of elements: block-level and inline-level. There are many more display types, but these are the most basic, and the types to which most if not all other display types refer. The block and inline types will be familiar to authors who have spent time with HTML markup and its display in web browsers. The elements are illustrated in Figure 1-1.
Block-level elements generate an element box that (by default) fills its parent element’s content area and cannot have other elements at its sides. In other words, it generates “breaks” before and after the element box. The most familiar block elements from HTML are p and div. Replaced elements can be block-level elements, but usually they are not.
List items are a special case of block-level elements. In addition to behaving in a manner consistent with other block elements, they generate a marker—typically a bullet for unordered lists and a number for ordered lists—that is “attached” to the element box. Except for the presence of this marker, list items are in all other ways identical to other block elements.
Inline-level elements generate an element box within a line of text and do not break up the flow of that line. The best inline element example is the a element in HTML. Other candidates are strong and em. These elements do not generate a “break” before or after themselves, so they can appear within the content of another element without disrupting its display.
Note that while the names “block” and “inline” share a great deal in common with block- and inline-level elements in HTML, there is an important difference. In HTML, block-level elements cannot descend from inline-level elements. In CSS, there is no restriction on how display roles can be nested within each other.
To see how this works, let’s consider a CSS property, display.
You may have noticed that there are a lot of values, only three of which I’ve even come close to mentioning: block, inline, and list-item. Most of these values will be dealt with elsewhere in the book; for example, grid and inline-grid will be covered in a separate chapter about grid layout, and the table-related values are all covered in a chapter on CSS table layout.
For now, let’s just concentrate on block and inline. Consider the following markup:
<body><p>This is a paragraph with<em>an inline element</em>within it.</p></body>
Here we have two block elements (body and p) and an inline element (em). According to the HTML specification, em can descend from p, but the reverse is not true. Typically, the HTML hierarchy works out so that inlines descend from blocks, but not the other way around.
CSS, on the other hand, has no such restrictions. You can leave the markup as it is but change the display roles of the two elements like this:
p{display:inline;}em{display:block;}
This causes the elements to generate a block box inside an inline box. This is perfectly legal and violates no part of CSS. You would, however, have a problem if you tried to reverse the nesting of the elements in HTML:
<em><p>This is a paragraph improperly enclosed by an inline element.</p></em>
No matter what you do to the display roles via CSS, this is not legal in HTML.
While changing the display roles of elements can be useful in HTML documents, it becomes downright critical for XML documents. An XML document is unlikely to have any inherent display roles, so it’s up to the author to define them. For example, you might wonder how to lay out the following snippet of XML:
<book><maintitle>Cascading Style Sheets: The Definitive Guide</maintitle><subtitle>Third Edition</subtitle><author>Eric A. Meyer</author><publisher>O'Reilly and Associates</publisher><pubdate>November 2006</pubdate><isbntype="print">978-0-596-52733-4</isbn></book><book><maintitle>CSS Pocket Reference</maintitle><subtitle>Third Edition</subtitle><author>Eric A. Meyer</author><publisher>O'Reilly and Associates</publisher><pubdate>October 2007</pubdate><isbntype="print">978-0-596-51505-8</isbn></book>
Since the default value of display is inline, the content would be rendered as inline text by default, as illustrated in Figure 1-2. This isn’t a terribly useful display.
You can define the basics of the layout with display:
book,maintitle,subtitle,author,isbn{display:block;}publisher,pubdate{display:inline;}
We’ve now set five of the seven elements to be block and two to be inline. This means each of the block elements will be treated much as div is treated in HTML, and the two inlines will be treated in a manner similar to span.
This fundamental ability to affect display roles makes CSS highly useful in a variety of situations. We could take the preceding rules as a starting point, add a few other styles for greater visual impact, and get the result shown in Figure 1-3.
Before learning how to write CSS in detail, we need to look at how one can associate CSS with a document. After all, without tying the two together, there’s no way for the CSS to affect the document. We’ll explore this in an HTML setting since it’s the most familiar.
I’ve mentioned that HTML documents have an inherent structure, and that’s a point worth repeating. In fact, that’s part of the problem with web pages of old: too many of us forgot that documents are supposed to have an internal structure, which is altogether different than a visual structure. In our rush to create the coolest-looking pages on the web, we bent, warped, and generally ignored the idea that pages should contain information with some structural meaning.
That structure is an inherent part of the relationship between HTML and CSS; without it, there couldn’t be a relationship at all. To understand it better, let’s look at an example HTML document and break it down by pieces:
<html><head><title>Eric's World of Waffles</title><metahttp-equiv="content-type"content="text/html; charset=utf-8"><linkrel="stylesheet"type="text/css"href="sheet1.css"media="all"><styletype="text/css">/* These are my styles! Yay! */@import url(sheet2.css);</style></head><body><h1>Waffles!</h1><pstyle="color: gray;">The most wonderful of all breakfast foods is the waffle—a ridged and cratered slab of home-cooked, fluffy goodness that makes every child's heart soar with joy. And they're so easy to make! Just a simple waffle-maker and some batter, and you're ready for a morning of aromatic ecstasy!</p></body></html>
The result of this markup and the applied styles is shown in Figure 1-4.
Now, let’s examine the various ways this document connects to CSS.
First, consider the use of the link tag:
<linkrel="stylesheet"type="text/css"href="sheet1.css"media="all">
The link tag is a little-regarded but nonetheless perfectly valid tag that has been hanging around the HTML specification for years, just waiting to be put to good use. Its basic purpose is to allow HTML authors to associate other documents with the document containing the link tag. CSS uses it to link stylesheets to the document; in Figure 1-5, a stylesheet called sheet1.css is linked to the document.
These stylesheets, which are not part of the HTML document but are still used by it, are referred to as external stylesheets. This is because they’re stylesheets that are external to the HTML document. (Go figure.)
To successfully load an external stylesheet, link should be placed inside the head element, though it can also appear inside the body element. This will cause the web browser to locate and load the stylesheet and use whatever styles it contains to render the HTML document in the manner shown in Figure 1-5. Also shown in Figure 1-5 is the loading of the external sheet2.css via the @import declaration. Imports must be placed at the beginning of the stylesheet that contains them, but they are otherwise unconstrained.
And what is the format of an external stylesheet? It’s a list of rules, just like those we saw in the previous section and in the example HTML document; but in this case, the rules are saved into their own file. Just remember that no HTML or any other markup language can be included in the stylesheet—only style rules. Here are the contents of an external stylesheet:
h1{color:red;}h2{color:maroon;background:white;}h3{color:white;background:black;font:mediumHelvetica;}
That’s all there is to it—no HTML markup or comments at all, just plain-and-simple style declarations. These are saved into a plain-text file and are usually given an extension of .css, as in sheet1.css.
An external stylesheet cannot contain any document markup at all, only CSS rules and CSS comments, both of which are explained later in the chapter. The presence of markup in an external stylesheet can cause some or all of it to be ignored.
The filename extension is not required, but some older browsers won’t recognize the file as containing a stylesheet unless it actually ends with .css, even if you do include the correct type of text/css in the link element. In fact, some web servers won’t hand over a file as text/css unless its filename ends with .css, though that can usually be fixed by changing the server’s configuration files.
For the rest of the link tag, the attributes and values are fairly straightforward. rel stands for “relation,” and in this case, the relation is stylesheet. The attribute type is always set to text/css. This value describes the type of data that will be loaded using the link tag. That way, the web browser knows that the stylesheet is a CSS stylesheet, a fact that will determine how the browser deals with the data it imports. After all, there may be other style languages used in the future, so it’s important to declare which language you’re using.
Next, we find the href attribute. The value of this attribute is the URL of your stylesheet. This URL can be either absolute or relative, depending on what works for you. In our example, the URL is relative. It just as easily could have been something like http://meyerweb.com/sheet1.css.
Finally, we have a media attribute. The value of this attribute is one or more media descriptors, which are rules regarding media types and the features of those media, with each rule separated by a comma. Thus, for example, you can use a linked stylesheet in both screen and projection media:
<linkrel="stylesheet"type="text/css"href="visual-sheet.css"media="screen, projection">
Media descriptors can get quite complicated, and are explained in detail later in the chapter. For now, we’ll stick with the basic media types shown.
Note that there can be more than one linked stylesheet associated with a document. In these cases, only those link tags with a rel of stylesheet will be used in the initial display of the document. Thus, if you wanted to link two stylesheets named basic.css and splash.css, it would look like this:
<linkrel="stylesheet"type="text/css"href="basic.css"><linkrel="stylesheet"type="text/css"href="splash.css">
This will cause the browser to load both stylesheets, combine the rules from each, and apply them all to the document. For example:
<linkrel="stylesheet"type="text/css"href="basic.css"><linkrel="stylesheet"type="text/css"href="splash.css"><pclass="a1">This paragraph will be gray only if styles from the stylesheet 'basic.css' are applied.</p><pclass="b1">This paragraph will be gray only if styles from the stylesheet 'splash.css' are applied.</p>
The one attribute that is not in this example markup, but could be, is the title attribute. This attribute is not often used, but it could become important in the future and, if used improperly, can have unexpected effects. Why? We will explore that in the next section.
It’s also possible to define alternate stylesheets. These are defined by making the value of the rel attribute alternate stylesheet, and they are used in document presentation only if selected by the user.
Should a browser be able to use alternate stylesheets, it will use the values of the link element’s title attributes to generate a list of style alternatives. So you could write the following:
<linkrel="stylesheet"type="text/css"href="sheet1.css"title="Default"><linkrel="alternate stylesheet"type="text/css"href="bigtext.css"title="Big Text"><linkrel="alternate stylesheet"type="text/css"href="zany.css"title="Crazy colors!">
Users could then pick the style they want to use, and the browser would switch from the first one, labeled “Default” in this case, to whichever the user picked. Figure 1-6 shows one way in which this selection mechanism might be accomplished (and in fact was, early in the resurgence of CSS).
As of late 2016, alternate stylesheets were supported in most Gecko-based browsers like Firefox, and in Opera. They could be supported in the Internet Explorer family through the use of JavaScript but are not natively supported by those browsers. The WebKit family did not support selecting alternate stylesheets. Compare this to the age of the browser shown in Figure 1-6--it’s almost shocking.
It is also possible to group alternate stylesheets together by giving them the same title value. Thus, you make it possible for the user to pick a different presentation for your site in both screen and print media:
<linkrel="stylesheet"type="text/css"href="sheet1.css"title="Default"media="screen"><linkrel="stylesheet"type="text/css"href="print-sheet1.css"title="Default"media="print"><linkrel="alternate stylesheet"type="text/css"href="bigtext.css"title="Big Text"media="screen"><linkrel="alternate stylesheet"type="text/css"href="print-bigtext.css"title="Big Text"media="print">
If a user selects “Big Text” from the alternate stylesheet selection mechanism in a conforming user agent, then bigtext.css will be used to style the document in the screen medium, and print-bigtext.css will be used in the print medium. Neither sheet1.css nor print-sheet1.css will be used in any medium.
Why is that? Because if you give a link with a rel of stylesheet a title, then you are designating that stylesheet as a preferred stylesheet. This means that its use is preferred to alternate stylesheets, and it will be used when the document is first displayed. Once you select an alternate stylesheet, however, the preferred stylesheet will not be used.
Furthermore, if you designate a number of stylesheets as preferred, then all but one of them will be ignored. Consider the following code example:
<linkrel="stylesheet"type="text/css"href="sheet1.css"title="Default Layout"><linkrel="stylesheet"type="text/css"href="sheet2.css"title="Default Text Sizes"><linkrel="stylesheet"type="text/css"href="sheet3.css"title="Default Colors">
All three link elements now refer to preferred stylesheets, thanks to the presence of a title attribute on all three, but only one of them will actually be used in that manner. The other two will be ignored completely. Which two? There’s no way to be certain, as HTML doesn’t provide a method of determining which preferred stylesheets should be ignored and which should be used.
If you don’t give a stylesheet a title, then it becomes a persistent stylesheet and is always used in the display of the document. Often, this is exactly what an author wants.
The style element is one way to include a stylesheet, and it appears in the document itself:
<styletype="text/css">...</style>
style should always use the attribute type; in the case of a CSS document, the correct value is "text/css", just as it was with the link element.
The style element should always start with <style
type="text/css">, as shown in the preceding example. This is followed by one or more styles and is finished with a closing </style> tag. It is also possible to give the style element a media attribute, which functions in the same manner as previously discussed for linked stylesheets.
The styles between the opening and closing style tags are referred to as the document stylesheet or the embedded stylesheet (because this kind of stylesheet is embedded within the document). It will contain many of the styles that will apply to the document, but it can also contain multiple links to external stylesheets using the @import directive.
Now we’ll discuss the stuff that is found inside the style tag. First, we have something very similar to link: the @import directive:
@import url(sheet2.css);
Just like link, @import can be used to direct the web browser to load an external stylesheet and use its styles in the rendering of the HTML document. The only major difference is in the syntax and placement of the command. As you can see, @import is found inside the style container. It must be placed before the other CSS rules or it won’t work at all. Consider this example:
<styletype="text/css">@importurl(styles.css);/* @import comes first */h1{color:gray;}</style>
Like link, there can be more than one @import statement in a document. Unlike link, however, the stylesheets of every @import directive will be loaded and used; there is no way to designate alternate stylesheets with @import. So, given the following markup:
@import url(sheet2.css);@import url(blueworld.css);@import url(zany.css);
all three external stylesheets will be loaded, and all of their style rules will be used in the display of the document.
As with link, you can restrict imported stylesheets to one or more media by providing media descriptors after the stylesheet’s URL:
@import url(sheet2.css) all;@import url(blueworld.css) screen;@import url(zany.css) projection, print;
As noted in “The link Tag”, media descriptors can get quite complicated, and are explained in detail in Chapter 20, “Media-Dependent Styles”.
@import can be highly useful if you have an external stylesheet that needs to use the styles found in other external stylesheets. Since external stylesheets cannot contain any document markup, the link element can’t be used—but @import can. Therefore, you might have an external stylesheet that contains the following:
@importurl(http://example.org/library/layout.css);@importurl(basic-text.css);@importurl(printer.css);body{color:red;}h1{color:blue;}
Well, maybe not those exact styles, but hopefully you get the idea. Note the use of both absolute and relative URLs in the previous example. Either URL form can be used, just as with link.
Note also that the @import directives appear at the beginning of the stylesheet, as they did in the example document. CSS requires the @import directive to come before any other rules in a stylesheet. An @import that comes after other rules (e.g., body {color: red;}) will be ignored by conforming user agents.
Older versions of Internet Explorer for Windows do not ignore any @import directive, even those that come after other rules. Since other browsers do ignore improperly placed @import directives, it is easy to mistakenly place the @import directive incorrectly and thus alter the display in other browsers.
There is another, far more obscure way to associate CSS with a document: you can link the two via HTTP headers.
Under Apache, this can be accomplished by adding a reference to the CSS file in a .htaccess file. For example:
Headeradd Link"</ui/testing.css>;rel=stylesheet;type=text/css"
This will cause supporting browsers to associate the referenced stylesheet with any documents served from under that .htaccess file. The browser will then treat it as if it were a linked stylesheet. Alternatively, and probably more efficiently, you can add an equivalent rule to the server’s httpd.conf file:
<Directory/path/to/ /public/html/directory>Headeradd Link"</ui/testing.css>;rel=stylesheet;type=text/css"</Directory>
The effect is exactly the same in supporting browsers. The only difference is in where you declare the linking.
You probably noticed the use of the term “supporting browsers.” As of late 2017, the widely used browsers that support HTTP linking of stylesheets are the Firefox family and Opera. That restricts this technique mostly to development environments based on one of those browsers. In that situation, you can use HTTP linking on the test server to mark when you’re on the development site as opposed to the public site. It’s also an interesting way to hide styles from the WebKit and Internet Explorer families, assuming you have a reason to do so.
There are equivalents to this technique in common scripting languages such as PHP and IIS, both of which allow the author to emit HTTP headers. It’s also possible to use such languages to explicitly write a link element into the document based on the server offering up the document. This is a more robust approach in terms of browser support: every browser supports the link element.
For cases where you want to just assign a few styles to one individual element, without the need for embedded or external stylesheets, employ the HTML attribute style to set an inline style:
<pstyle="color: gray;">The most wonderful of all breakfast foods is the waffle—a ridged and cratered slab of home-cooked, fluffy goodness...</p>
The style attribute can be associated with any HTML tag whatsoever, except for those tags that are found outside of body (head or title, for instance).
The syntax of a style attribute is fairly ordinary. In fact, it looks very much like the declarations found in the style container, except here the curly braces are replaced by double quotation marks. So <p style="color: maroon; background: yellow;"> will set the text color to be maroon and the background to be yellow for that paragraph only. No other part of the document will be affected by this declaration.
Note that you can only place a declaration block, not an entire stylesheet, inside an inline style attribute. Therefore, you can’t put an @import into a style attribute, nor can you include any complete rules. The only thing you can put into the value of a style attribute is what might go between the curly braces of a rule.
Use of the style attribute is not generally recommended. Indeed, it is very unlikely to appear in XML languages other than HTML. Many of the primary advantages of CSS—the ability to organize centralized styles that control an entire document’s appearance or the appearance of all documents on a web server—are negated when you place styles into a style attribute. In many ways, inline styles are not much better than the font tag, although they do have a good deal more flexibility in terms of what visual effects they can apply.
So after all of that, what about the actual contents of the stylesheets? You know, stuff like this:
h1{color:maroon;}body{background:yellow;}
Styles such as these comprise the bulk of any embedded stylesheet—simple and complex, short and long. Rarely will you have a document where the style element does not contain any rules, although it’s possible to have a simple list of @import declarations with no actual rules like those shown in the previous example.
Before we get going on the rest of the book, there are a few top-level things to cover regarding what can or can’t go into a stylesheet.
To illustrate the concept of rules in more detail, let’s break down the structure.
Each rule has two fundamental parts: the selector and the declaration block. The declaration block is composed of one or more declarations, and each declaration is a pairing of a property and a value. Every stylesheet is made up of a series of rules. Figure 1-7 shows the parts of a rule.
The selector, shown on the left side of the rule, defines which piece of the document will be affected. In Figure 1-7, h1 elements are selected. If the selector were p, then all p (paragraph) elements would be selected.
The right side of the rule contains the declaration block, which is made up of one or more declarations. Each declaration is a combination of a CSS property and a value of that property. In Figure 1-7, the declaration block contains two declarations. The first states that this rule will cause parts of the document to have a color of red, and the second states that part of the document will have a background of yellow. So, all of the h1 elements in the document (defined by the selector) will be styled in red text with a yellow background.
Sometimes you’ll see pieces of CSS with dashes and labels in front of them, like this: -o-border-image. These are called vendor prefixes, and are a way for browser vendors to mark properties, values, or other bits of CSS as being experimental or proprietary (or both). As of late 2016, there were a few vendor prefixes in the wild, with the most common being shown in Table 1-1.
| Prefix | Vendor |
|---|---|
|
International Digital Publishing Forum ePub format |
|
Mozilla-based browsers (e.g., Firefox) |
|
Microsoft Internet Explorer |
|
Opera-based browsers |
|
WebKit-based browsers (e.g., Safari and Chrome) |
As Table 1-1 implies, the generally accepted format of a vendor prefix is a dash, a label, and a dash, although a few prefixes erroneously omit the first dash.
The uses and abuses of vendor prefixes are long, tortuous, and beyond the scope of this book. Suffice to say that they started out as a way for vendors to test out new features, thus helping speed interoperability without worrying about being locked into legacy behaviors that were incompatible with other browsers. This avoided a whole class of problems that nearly strangled CSS in its infancy. Unfortunately, prefixed properties were then publicly deployed by web authors and ended up causing a whole new class of problems.
As of late 2016, vendor prefixes are a dwindling breed, with old prefixed properties and values being slowly removed from browser implementations. It’s entirely possible that you’ll never write prefixed CSS, but you may encounter it in the wild, or inherit it in a legacy codebase.
CSS is basically insensitive to whitespace between rules, and largely insensitive to whitespace within rules, although there are a few exceptions.
In general, CSS treats whitespace just like HTML does: any sequence of whitespace characters is collapsed to a single space for parsing purposes. Thus, you can format the hypothetical rainbow rule in the following ways:
rainbow:infraredredorangeyellowgreenblueindigovioletultraviolet;rainbow:infraredredorangeyellowgreenblueindigovioletultraviolet;rainbow:infraredredorangeyellowgreenblueindigovioletultraviolet;
…as well as any other separation patterns you can think up. The only restriction is that the separating characters be whitespace: an empty space, a tab, or a newline, alone or in combination, as many as you like.
Similarly, you can format series of rules with whitespace in any fashion you like. These are just five of an effectively infinite number of possibilities:
html{color:black;}body{background:white;}p{color:gray;}h2{color:silver;}ol{color:silver;}
As you can see from the first rule, whitespace can be largely omitted. Indeed, this is usually the case with minified CSS, which is CSS that’s had every last possible bit of extraneous whitespace removed. The rules after the first two use progressively more extravagant amounts of whitespace until, in the last rule, pretty much everything that can be separated onto its own line has been.
All of these approaches are valid, so you should pick the formatting that makes the most sense—that is, is easiest to read—in your eyes, and stick with it.
There are some places where the presence of whitespace is actually required. The most common example is when separating a list of keywords in a value, as in the hypothetical rainbow examples. Those must always be whitespace-separated.
CSS does allow for comments. These are very similar to C/C++ comments in that they are surrounded by /* and */:
/* This is a CSS1 comment */
Comments can span multiple lines, just as in C++:
/* This is a CSS1 comment, and itcan be several lines long withoutany problem whatsoever. */
It’s important to remember that CSS comments cannot be nested. So, for example, this would not be correct:
/* This is a comment, in which we findanother comment, which is WRONG/* Another comment */andbacktothefirstcomment*/
One way to create “nested” comments accidentally is to temporarily comment out a large block of a stylesheet that already contains a comment. Since CSS doesn’t permit nested comments, the “outside” comment will end where the “inside” comment ends.
Unfortunately, there is no “rest of the line” comment pattern such as // or # (the latter of which is reserved for ID selectors anyway). The only comment pattern in CSS is /* */. Therefore, if you wish to place comments on the same line as markup, then you need to be careful about how you place them. For example, this is the correct way to do it:
h1{color:gray;}/* This CSS comment is several lines */h2{color:silver;}/* long, but since it is alongside */p{color:white;}/* actual styles, each line needs to */pre{color:gray;}/* be wrapped in comment markers. */
Given this example, if each line isn’t marked off, then most of the stylesheet will become part of the comment and thus will not work:
h1{color:gray;}/* This CSS comment is several linesh2 {color: silver;} long, but since it is not wrappedp {color: white;} in comment markers, the last threepre {color: gray;} styles are part of the comment. */
In this example, only the first rule (h1
{color: gray;}) will be applied to the document. The rest of the rules, as part of the comment, are ignored by the browser’s rendering engine.
With media queries, an author can define the media environment in which a given stylesheet is used by the browser. In the past, this was handled by setting media types via the media attribute on the link element, on a style element, or in the media descriptor of an @import or @media declaration. Media queries take this concept several steps further by allowing authors to choose stylesheets based on the features of a given media type, using what are called media descriptors.
Media queries can be employed in the following places:
The media attribute of a link element
The media attribute of a style element
The media descriptor portion of an @import declaration
The media descriptor portion of an @media declaration
Queries can range from simple media types to complicated combinations of media types and features.
Let’s look at some simple media blocks before covering all of the possibilities of media queries. Suppose we want some differing styles for situations where the styles are shown in a projection setting, such as a slide show. Here are two very simple bits of CSS:
h1{color:maroon;}@mediaprojection{body{background:yellow;}}
In this example, h1 elements will be colored maroon in all media, but the body element will get a yellow background only in a projection medium.
You can have as many @media blocks as you like in a given stylesheet, each with its own set of media descriptors (see later in this chapter for details). You could even encapsulate all of your rules in an @media block if you chose, like this:
@mediaall{h1{color:maroon;}body{background:yellow;}}
However, since this is exactly the same as if you stripped off the first and last line shown, there isn’t a whole lot of point to doing so.
The indentation shown in this section was solely for purposes of clarity. You do not have to indent the rules found inside an @media block, but you’re welcome to do so if it makes your CSS easier for you to read.
The place where we saw projection and all in those examples is where media queries are set. These queries rely on a combination of terms that describe the type of media to be considered, as well as descriptions of the media’s parameters (e.g., resolution or display height), to determine when blocks of CSS should be applied.
The most basic form of media queries are media types, which first appeared in CSS2. These are simple labels for different kinds of media:
allprintUse when printing the document for sighted users and also when displaying a print preview of the document.
screenUse when presenting the document in a screen medium like a desktop computer monitor. All web browsers running on such systems are screen-medium user agents.
As of this writing, a couple of browsers also support projection, which allows a document to be presented as a slideshow. Several mobile-device browsers support the handheld type, but not in consistent ways.
Multiple media types can be specified using a comma-separated list. The following four examples are all equivalent ways of applying a stylesheet (or a block of rules) in both screen and print media:
<linktype="text/css"href="frobozz.css"media="screen, print"><styletype="text/css"media="screen, print">...</style>
@importurl(frobozz.css)screen,;@mediascreen,{...}
Things get interesting when you add feature-specific descriptors, such as values that describe the resolution or color depth of a given medium, to these media types.
The placement of media queries will be very familiar to any author who has ever set a media type on a link element or an @import declaration. Here are two essentially equivalent ways of applying an external stylesheet when rendering the document on a color printer:
<linkhref="print-color.css"type="text/css"media="print and (color)"rel="stylesheet">
@import url(print-color.css) print and (color);
Anywhere a media type can be used, a media query can be used. This means that, following on the examples of the previous section, it is possible to list more than one query in a comma-separated list:
<linkhref="print-color.css"type="text/css"media="print and (color), screen and (min-color: 8)"rel="stylesheet">
@import url(print-color.css) print and (color), screen and (min-color: 8);
In any situation where even one of the media queries evaluates to “true,” the associated stylesheet is applied. Thus, given the previous @import, print-color.css will be applied if rendering to a color printer or to a sufficiently colorful screen environment. If printing on a black-and-white printer, both queries will evaluate to “false”, and print-color.css will not be applied to the document. The same holds true in any screen medium, and so on.
Each media descriptor is composed of a media type and one or more listed media features, with each media feature descriptor enclosed in parentheses. If no media type is provided, then it is assumed to be all, which makes the following two examples equivalent:
@mediaalland(min-resolution:96dpi){...}@media(min-resolution:96dpi){...}
Generally speaking, a media feature descriptor is formatted like a property-value pair in CSS. There are a few differences, most notably that some features can be specified without an accompanying value. Thus, for example, any color-based medium will be matched using (color), whereas any color medium using a 16-bit color depth is matched using (color:
16). In effect, the use of a descriptor without a value is a true/false test for that descriptor: (color) means “is this medium in color?”
Multiple feature descriptors can be linked with the and logical keyword. In fact, there are two logical keywords in media queries:
andLinks together two or more media features in such a way that all of them must be true for the query to be true. For example, (color) and (orientation: landscape) and
(min-device-width: 800px) means that all three conditions must be satisfied: if the media environment has color, is in landscape orientation, and the device’s display is at least 800 pixels wide, then the stylesheet is used.
notNegates the entire query such that if all of the conditions are true, then the stylesheet is not applied. For example, not (color) and
(orientation: landscape) and (min-device-width: 800px) means that if the three conditions are satisfied, the statement is negated. Thus, if the media environment has color, is in landscape orientation, and the device’s display is at least 800 pixels wide, then the stylesheet is not used. In all other cases, it will be used.
Note that the not keyword can only be used at the beginning of a media query. It is not legal to write something like (color) and not (min-device-width:
800px). In such cases, the query will be ignored. Note also that browsers too old to understand media queries will always skip a stylesheet whose media descriptor starts with not.
There is no OR keyword for use in media queries. Instead, the commas that separate a list of queries serve the function of an OR—screen, print means “apply if the media is screen or print.” Instead of screen
and (max-color: 2) or (monochrome), which is invalid and thus ignored, you should write screen and
(max-color: 2), screen and (monochrome).
There is one more keyword, only, which is designed to create deliberate backward incompatibility (yes, really):
onlyUsed to hide a stylesheet from browsers too old to understand media queries. For example, to apply a stylesheet in all media, but only in those browsers that understand media queries, you write something like @import
url(new.css) only all. In browsers that do understand media queries, the only keyword is ignored and the stylesheet is applied. In browsers that do not understand media queries, the only keyword creates an apparent media type of only all, which is not valid. Thus, the stylesheet is not applied in such browsers. Note that the only keyword can only be used at the beginning of a media query.
So far we’ve seen a number of media feature descriptors in the examples, but not a complete list. Following is a list of all possible descriptors (current as of late 2017):
width
min-width
max-width
device-width
min-device-width
max-device-width
height
min-height
max-height
device-height
min-device-height
max-device-height
aspect-ratio
min-aspect-ratio
max-aspect-ratio
device-aspect-ratio
min-device-aspect-ratio
max-device-aspect-ratio
color
min-color
max-color
color-index
min-color-index
max-color-index
monochrome
min-monochrome
max-monochrome
resolution
min-resolution
max-resolution
orientation
scan
grid
In addition, two new value types were added:
<ratio>
<resolution>
A complete description of these descriptors and values, and how to use them, can be found in Chapter 20.
Between 2015 and 2016, CSS gained the ability to apply blocks of CSS when certain CSS property-value combinations were supported by the user agent. These are known as feature queries.
They’re very similar to media queries in structure. Consider a situation where you want to only apply color to element if color is a supported property. (Which it certainly should be!) That would look like this:
@supports(color:black){body{color:black;}h1{color:purple;}h2{color:navy;}}
That says, in effect, “If you recognize and can do something with the property-value combination color: black, apply these styles. Otherwise, skip these styles.” In user agents that don’t understand @supports, the entire block is skipped over.
Feature queries are a perfect way to progressively enhance your styles. For example, suppose you want to add some grid layout to your existing float-and-inline-block layout. You can keep the old layout scheme, and then later in the stylesheet include a block like this:
@supports(display:grid){section#main{display:grid;}/* styles to switch off old layout positioning *//* grid layout styles */}
This block of styles will be applied in browsers that understand grid display, overriding the old styles that governed page layout, and then applying the styles needed to make things work in a grid-based future. Browsers too old to understand grid layout will most likely also be too old to understand @supports, so they’ll skip the whole block entirely, as if it had never been there.
Feature queries can be embedded inside each other, and indeed can be embedded inside media queries, as well as vice versa. You could write screen and print styles based on flexible-box layout, and wrap those media blocks in an @supports (display: flex) block:
@supports(display:flex){@mediascreen{/* screen flexbox styles go here */}@media{/* print flexbox styles go here */}}
Conversely, you could add @supports() blocks inside various responsive-design media query blocks:
@mediascreenand(max-width:30em){@supports(display:flex){/* small-screen flexbox styles go here */}}@mediascreenand(min-width:30em){@supports(display:flex){/* large-screen flexbox styles go here */}}
How you organize these blocks is really up to you.
As with media queries, feature queries also permit logical operators. Suppose we want to apply styles only if a user agent supports both grid layout and CSS shapes. Here’s how that might go:
@supports(display:grid)and(shape-outside:circle()){/* grid-and-shape styles go here */}
This is essentially equivalent to writing the following:
@supports(display:grid){@supports(shape-outside:circle()){/* grid-and-shape styles go here */}}
However, there’s more than “and” operations available. CSS Shapes (covered in detail in Chapter 10) are a good example of why “or” is useful, because for a long time WebKit only supported CSS shapes via vendor-prefixed properties. So if you want to use shapes, you can use a feature query like this:
@supports(shape-outside:circle())or(-webkit-shape-outside:circle()){/* shape styles go here */}
You’d still have to make sure to use both prefixed and unprefixed versions of the shape properties, but this would let you add support for those properties backward in the WebKit release line while supporting other browsers that also support shapes, but not via prefixed properties.
All this is incredibly handy because there are situations where you might want to apply different properties than those you’re testing. So, to go back to grid layout for a second, you might want to change the margins and so forth on your layout elements when grid is in use. Here’s a simplified version of that approach:
div#main{overflow:hidden;}div.column{float:left;margin-right:1em;}div.column:last-child{margin-right:0;}@supports(display:grid){div#main{display:grid;grid-gap:1em0;overflow:visible;}div#maindiv.column{margin:0;}}
It’s possible to use negation as well. For example, you could apply the following styles in situations where grid layout is not supported:
@supportsnot(display:grid){/* grid-not-supported styles go here */}
You can combine your logical operators into a single query, but parentheses are required to keep the logic straight. Suppose we want a set of styles to be applied when color is supported, and when one of either grid or flexible box layout is supported. That’s written like this:
@supports(color:black)and((display:flex)or(display:grid)){/* styles go here */}
Notice how there’s another set of parentheses around the “or” part of the logic, enclosing the grid and flex tests. Those extra parentheses are required. Without them, the entire expression will fail, and the styles inside the block will be skipped. In other words, don’t do this:
@supports(color:black)and(display:flex)or(display:grid){
Finally, you might wonder why both a property and value are required in feature query tests. After all, if you’re using shapes, all you need to test for is shape-outside, right? It’s because a browser can easily support a property without supporting all its values. Grid layout is a perfect example for this. Suppose you could test for grid support like this:
@supports(display){/* grid styles go here */}
Well, even Internet Explorer 4 supported display. Any browser that understands @supports will certainly understand display and many of its values—but maybe not grid. That’s why property and value are always tested in feature queries.
Remember that these are feature queries, not correctness queries. A browser can understand the feature you’re testing for, but implement it with bugs. So you’re not getting an assurance from the browser that it supports something correctly. All a positive feature-query result means is that the browser understands what you’ve said and makes some sort of attempt to support it.
With CSS, it is possible to completely change the way elements are presented by a user agent. This can be executed at a basic level with the display property, and in a different way by associating stylesheets with a document. The user will never know whether this is done via an external or embedded stylesheet, or even with an inline style. The real importance of external stylesheets is the way in which they allow authors to put all of a site’s presentation information in one place, and point all of the documents to that place. This not only makes site updates and maintenance a breeze, but it helps to save bandwidth, since all of the presentation is removed from documents. With @supports(), it’s even possible to do some basic progressive enhancement in native CSS.
To make the most of the power of CSS, authors need to know how to associate a set of styles with the elements in a document. To fully understand how CSS can do all of this, authors need a firm grasp of the way CSS selects pieces of a document for styling, which is the subject of the next chapter.
One of the primary advantages of CSS is its ability to easily apply a set of styles to all elements of the same type. Unimpressed? Consider this: by editing a single line of CSS, you can change the colors of all your headings. Don’t like the blue you’re using? Change that one line of code, and they can all be purple, yellow, maroon, or any other color you desire. That lets you, the designer, focus on design, rather than grunt work. The next time you’re in a meeting and someone wants to see headings with a different shade of green, just edit your style and hit Reload. Voilà! The results are accomplished in seconds and there for everyone to see.
As stated, a central feature of CSS is its ability to apply certain rules to an entire set of element types in a document. For example, let’s say that you want to make the text of all h2 elements appear gray. Using old-school HTML, you’d have to do this by inserting <font color="gray">…</font> tags inside all your h2 elements. Using the style attribute, which is also bad practice, would require you to include style="color: gray;" in all your h2 elements, like this:
<h2><fontcolor="gray">This is h2 text</font></h2><h2style="color: gray;">This is h2 text</h2>
This will be a tedious process if your document contains a lot of h2 elements. Worse, if you later decide that you want all those h2s to be green instead of gray, you’d have to start the manual tagging all over again. (Yes, this is really how it used to be done!)
CSS allows you to create rules that are simple to change, edit, and apply to all the text elements you define (the next section will explain how these rules work). For example, you can write this rule once to make all your h2 elements gray:
h2{color:gray;}
If you want to change all h2 text to another color—say, silver—just alter the value:
h2{color:silver;}
An element selector is most often an HTML element, but not always. For example, if a CSS file contains styles for an XML document, the element selectors might look something like this:
quote{color:gray;}bib{color:red;}booktitle{color:purple;}myElement{color:red;}
In other words, the elements of the document serve as the most basic selectors. In XML, a selector could be anything, since XML allows for the creation of new markup languages that can have just about anything as an element name. If you’re styling an HTML document, on the other hand, the selector will generally be one of the many HTML elements such as p, h3, em, a, or even html itself. For example:
html{color:black;}h1{color:gray;}h2{color:silver;}
The results of this stylesheet are shown in Figure 2-1.
Once you’ve globally applied styles directly to elements, you can shift those styles from one element to another. Let’s say you decide that the paragraph text, not the h1 elements, in Figure 2-1 should be gray. No problem. Just change the h1 selector to p:
html{color:black;}p{color:gray;}h2{color:silver;}
The results are shown in Figure 2-2.
The declaration block contains one or more declarations. A declaration is always formatted as a property followed by a colon and then a value followed by a semicolon. The colon and semicolon can be followed by zero or more spaces. In nearly all cases, a value is either a single keyword or a space-separated list of one or more keywords that are permitted for that property. If you use an incorrect property or value in a declaration, the whole rule will be ignored. Thus, the following two declarations would fail:
brain-size:2cm;/* unknown property 'brain-size' */color:ultraviolet;/* unknown value 'ultraviolet' */
In an instance where you can use more than one keyword for a property’s value, the keywords are usually separated by spaces, with some cases requiring slashes (/) or commas. Not every property can accept multiple keywords, but many, such as the font property, can. Let’s say you want to define medium-sized Helvetica for paragraph text, as illustrated in Figure 2-3.
The rule would read as follows:
p{font:mediumHelvetica;}
Note the space between medium and Helvetica, each of which is a keyword (the first is the font’s size and the second is the actual font name). The space allows the user agent to distinguish between the two keywords and apply them correctly. The semicolon indicates that the declaration has been concluded.
These space-separated words are referred to as keywords because, taken together, they form the value of the property in question. For instance, consider the following fictional rule:
rainbow: red orange yellow green blue indigo violet;
There is no such property as rainbow, but the example is useful for illustrative purposes. The value of rainbow is red orange
yellow green blue indigo violet, and the seven keywords add up to a single, unique value. We can redefine the value for rainbow as follows:
rainbow: infrared red orange yellow green blue indigo violet ultraviolet;
Now we have a new value for rainbow composed of nine keywords instead of seven. Although the two values look mostly the same, they are as unique and different as zero and one. This may seem an abstract point, but it’s critical to understanding some of the subtler effects of specificity and the cascade (covered later in this book).
As we’ve seen, CSS keywords are usually separated by spaces. In CSS2.1 there was one exception: in the CSS property font, there is exactly one place where a forward slash (/) could be used to separate two specific keywords. Here’s an example:
h2{font:large/150%sans-serif;}
The slash separates the keywords that set the element’s font size and line height. This is the only place the slash is allowed to appear in the font declaration. All of the other keywords allowed for font are separated by spaces.
The slash has since worked its way into a number of other properties’ values. These include, but may not always be limited to the following:
background
border-image
border-radius
grid
grid-area
grid-column
grid-row
grid-template
mask-border
There are also some keywords that are separated by commas. When declaring multiple values, such as multiple background images, transition properties, and shadows, the declarations are separated with commas. Additionally, parameters in functions, such as linear gradients and transforms, are comma separated, as the following example shows:
.box{box-shadow:inset-1px-1pxwhite,3px3px3pxrgba(0,0,0,0.2);background-image:url(myimage.png),linear-gradient(180deg,#FFF0%,#000100%);transform:translate(100px,200px);}a:hover{transition:color,background-color200msease-in50ms;}
Those are the basics of simple declarations, but they can get much more complex. The next section begins to show you just how powerful CSS can be.
So far, we’ve seen fairly simple techniques for applying a single style to a single selector. But what if you want the same style to apply to multiple elements? If that’s the case, you’ll want to use more than one selector or apply more than one style to an element or group of elements.
Let’s say you want both h2 elements and paragraphs to have gray text. The easiest way to accomplish this is to use the following declaration:
h2,p{color:gray;}
By placing the h2 and p selectors on the left side of the rule and separating them with a comma, you’ve defined a rule where the style on the right (color: gray;) applies to the elements referenced by both selectors. The comma tells the browser that there are two different selectors involved in the rule. Leaving out the comma would give the rule a completely different meaning, which we’ll explore in “Descendant Selectors”.
There are really no limits to how many selectors you can group together. For example, if you want to display a large number of elements in gray, you might use something like the following rule:
body,table,th,td,h1,h2,h3,h4,p,pre,strong,em,b,i{color:gray;}
Grouping allows an author to drastically compact certain types of style assignments, which makes for a shorter stylesheet. The following alternatives produce exactly the same result, but it’s pretty obvious which one is easier to type:
h1{color:purple;}h2{color:purple;}h3{color:purple;}h4{color:purple;}h5{color:purple;}h6{color:purple;}h1,h2,h3,h4,h5,h6{color:purple;}
Grouping allows for some interesting choices. For example, all of the groups of rules in the following example are equivalent—each merely shows a different way of grouping both selectors and declarations:
/* group 1 */h1{color:silver;background:white;}h2{color:silver;background:gray;}h3{color:white;background:gray;}h4{color:silver;background:white;}b{color:gray;background:white;}/* group 2 */h1,h2,h4{color:silver;}h2,h3{background:gray;}h1,h4,b{background:white;}h3{color:white;}b{color:gray;}/* group 3 */h1,h4{color:silver;background:white;}h2{color:silver;}h3{color:white;}h2,h3{background:gray;}b{color:gray;background:white;}
Any of these will yield the result shown in Figure 2-4. (These styles use grouped declarations, which are explained in “Grouping Declarations”.)
CSS2 introduced a new simple selector called the universal selector, displayed as an asterisk (*). This selector matches any element at all, much like a wildcard. For example, to make every single element in a document red, you would write:
*{color:red;}
This declaration is equivalent to a grouped selector that lists every single element contained within the document. The universal selector lets you assign the color value red to every element in the document in one efficient stroke. Beware, however: although the universal selector is convenient, because it targets everything within its declaration scope, it can have unintended consequences, which are discussed later in this book.
Since you can group selectors together into a single rule, it follows that you can also group declarations. Assuming that you want all h1 elements to appear in purple, 18-pixel-high Helvetica text on an aqua background (and you don’t mind blinding your readers), you could write your styles like this:
h1{font:18pxHelvetica;}h1{color:purple;}h1{background:aqua;}
But this method is inefficient—imagine creating such a list for an element that will carry 10 or 15 styles! Instead, you can group your declarations together:
h1{font:18pxHelvetica;color:purple;background:aqua;}
This will have exactly the same effect as the three-line stylesheet just shown.
Note that using semicolons at the end of each declaration is crucial when you’re grouping them. Browsers ignore whitespace in stylesheets, so the user agent must rely on correct syntax to parse the stylesheet. You can fearlessly format styles like the following:
h1{font:18pxHelvetica;color:purple;background:aqua;}
You can also minimize your CSS, removing all non-required spaces.
h1{font:18pxHelvetica;color:purple;background:aqua;}
Ignoring whitespace, the last three are treated equally by the server, but the second one is most human readable, and the recommended method of marking up your CSS during development. (You might choose to minimize your CSS for network-performance reasons, but this is usually handled by a server-side script, caching network, or other service.)
If the semicolon is omitted on the second statement, the user agent will interpret the stylesheet as follows:
h1{font:18pxHelvetica;color:purplebackground:aqua;}
Because background: is not a valid value for color, and because color can be given only one keyword, a user agent will ignore the color declaration (including the background: aqua part) entirely. You might think the browser would at least render h1s as purple text without an aqua background, but not so. Instead, they will be the default color (which is usually black) with a transparent background (which is also a default). The declaration font: 18px Helvetica will still take effect since it was correctly terminated with a semicolon.
Although it is not technically necessary to follow the last declaration of a rule with a semicolon in CSS, it is generally good practice to do so. First, it will keep you in the habit of terminating your declarations with semicolons, the lack of which is one of the most common causes of rendering errors. Second, if you decide to add another declaration to a rule, you won’t have to worry about forgetting to insert an extra semicolon. Third, if you ever use a preprocessor like Sass, trailing semicolons are often required for all declarations. Avoid all these problems—always follow a declaration with a semicolon, wherever the rule appears.
As with selector grouping, declaration grouping is a convenient way to keep your stylesheets short, expressive, and easy to maintain.
You now know that you can group selectors and you can group declarations. By combining both kinds of grouping in single rules, you can define very complex styles using only a few statements. Now, what if you want to assign some complex styles to all the headings in a document, and you want the same styles to be applied to all of them? Here’s how to do it:
h1,h2,h3,h4,h5,h6{color:gray;background:white;padding:0.5em;border:1pxsolidblack;font-family:Charcoal,sans-serif;}
Here we’ve grouped the selectors, so the styles on the right side of the rule will be applied to all the headings listed; grouping the declarations means that all of the listed styles will be applied to the selectors on the left side of the rule. The result of this rule is shown in Figure 2-5.
This approach is preferable to the drawn-out alternative, which would begin with something like this:
h1{color:gray;}h2{color:gray;}h3{color:gray;}h4{color:gray;}h5{color:gray;}h6{color:gray;}h1{background:white;}h2{background:white;}h3{background:white;}
and continue for many lines. You can write out your styles the long way, but I wouldn’t recommend it—editing them would be as tedious as using style attributes everywhere!
It’s possible to add even more expression to selectors and to apply styles in a way that cuts across elements in favor of types of information. To get something so powerful, you’ll have to do a little work in return, but it’s well worth it.
With updates to HTML, such as the HTML5 specification, new elements have come into being. Some browsers predate these newer elements, and so don’t recognize them. Versions of Internet Explorer prior to IE9, for example, did not support selecting elements they did not understand. The solution was to create the element in the DOM, thereby informing the browser that said element exists.
For example, IE8 does not recognize the <main> element. The following JavaScript line informs IE8 of main’s existence:
document.createElement('main');
By running that line of code, older versions of Internet Explorer will recognize the existence of the element, allowing it to be selected and styled.
So far, we’ve been grouping selectors and declarations together in a variety of ways, but the selectors we’ve been using are very simple ones that refer only to document elements. Element selectors are fine up to a point, but there are times when you need something a little more specialized.
In addition to raw document elements, there are class selectors and ID selectors, which let you assign styles in a way that is independent of document elements. These selectors can be used on their own or in conjunction with element selectors. However, they work only if you’ve marked up your document appropriately, so using them generally involves a little forethought and planning.
For example, say a document contains a number of warnings. You want each warning to appear in boldface text so that it will stand out. However, you don’t know which elements these warnings will be. Some warnings could be entire paragraphs, while others could be a single item within a lengthy list or a small section of text. So, you can’t define a rule using element selectors of any kind. Suppose you tried this route:
p{font-weight:bold;color:red;}
All paragraphs would be red and bold, not just those that contain warnings. You need a way to select only the text that contains warnings, or more precisely, a way to select only those elements that are warnings. How do you do it? You apply styles to parts of the document that have been marked in a certain way, independent of the elements involved, by using class selectors.
The most common way to apply styles without worrying about the elements involved is to use class selectors. Before you can use them, however, you need to modify your actual document markup so that the class selectors will work. Enter the class attribute:
<pclass="warning">When handling plutonium, care must be taken to avoid the formation of a critical mass.</p><p>With plutonium,<spanclass="warning">the possibility of implosion is very real, and must be avoided at all costs</span>. This can be accomplished by keeping the various masses separate.</p>
To associate the styles of a class selector with an element, you must assign a class attribute the appropriate value. In the previous code block, a class value of warning was assigned to two elements: the first paragraph and the span element in the second paragraph.
All you need now is a way to apply styles to these classed elements. In HTML documents, you can use a compact notation where the name of a class is preceded by a period (.) and can be joined with an element selector:
.warning{font-weight:bold;}
When combined with the example markup shown earlier, this simple rule has the effect shown in Figure 2-6. That is, the declaration font-weight: bold will be applied to every element (thanks to the presence of the implicit universal selector) that carries a class attribute with a value of warning.
The universal selector, represented by *, is implied when an ID, class, attribute selector, pseudo-class or pseudo-element selector is written without being attached to an element selector.
As you can see, the class selector works by directly referencing a value that will be found in the class attribute of an element. This reference is always preceded by a period (.), which marks it as a class selector. The period helps keep the class selector separate from anything with which it might be combined—such as an element selector. For example, you may want boldface text only when an entire paragraph is a warning:
p.warning{font-weight:bold;}
The selector now matches any p elements that have a class attribute containing the word warning, but no other elements of any kind, classed or otherwise. Since the span element is not a paragraph, the rule’s selector doesn’t match it, and it won’t be displayed using boldfaced text.
If you did want to assign different styles to the span element, you could use the selector span.warning:
p.warning{font-weight:bold;}span.warning{font-style:italic;}
In this case, the warning paragraph is boldfaced, while the warning span is italicized. Each rule applies only to a specific type of element/class combination, so it does not leak over to other elements.
Another option is to use a combination of a general class selector and an element-specific class selector to make the styles even more useful, as in the following markup:
.warning{font-style:italic;}span.warning{font-weight:bold;}
The results are shown in Figure 2-7.
In this situation, any warning text will be italicized, but only the text within a span element with a class of warning will be both boldfaced and italicized.
Notice the format of the general class selector in the previous example: it’s a class name preceded by a period without any element name, and no universal selector. In cases where you only want to select all elements that share a class name, you can omit the universal selector from a class selector without any ill effects.
In the previous section, we dealt with class values that contained a single word. In HTML, it’s possible to have a space-separated list of words in a single class value. For example, if you want to mark a particular element as being both urgent and a warning, you could write:
<pclass="urgent warning">When handling plutonium, care must be taken to avoid the formation of a critical mass.</p><p>With plutonium,<spanclass="warning">the possibility of implosion is very real, and must be avoided at all costs</span>. This can be accomplished by keeping the various masses separate.</p>
The order of the words doesn’t matter; warning urgent would also suffice and would yield precisely the same results no matter how the CSS class attribute is written.
Now let’s say you want all elements with a class of warning to be boldfaced, those with a class of urgent to be italic, and those elements with both values to have a silver background. This would be written as follows:
.warning{font-weight:bold;}.urgent{font-style:italic;}.warning.urgent{background:silver;}
By chaining two class selectors together, you can select only those elements that have both class names, in any order. As you can see, the HTML source contains class="urgent
warning" but the CSS selector is written .warning.urgent. Regardless, the rule will still cause the “When handling plutonium . . . ” paragraph to have a silver background, as illustrated in Figure 2-8. This happens because the order the words are written in doesn’t matter. (This is not to say the order of classes is always irrelevant, but we’ll get to that later in the book.)
If a multiple class selector contains a name that is not in the space-separated list, then the match will fail. Consider the following rule:
p.warning.help{background:red;}
As you would expect, the selector will match only those p elements with a class containing the words warning and help. Therefore, it will not match a p element with just the words warning and urgent in its class attribute. It would, however, match the following:
<pclass="urgent warning help">Help me!</p>
In some ways, ID selectors are similar to class selectors, but there are a few crucial differences. First, ID selectors are preceded by an octothorpe (#)—also known as a pound sign (in the US), hash sign, hash mark, or tic-tac-toe board—instead of a period. Thus, you might see a rule like this one:
*#first-para{font-weight:bold;}
This rule produces boldfaced text in any element whose id attribute has a value of first-para.
The second difference is that instead of referencing values of the class attribute, ID selectors refer, unsurprisingly, to values found in id attributes. Here’s an example of an ID selector in action:
*#lead-para{font-weight:bold;}
<pid="lead-para">This paragraph will be boldfaced.</p><p>This paragraph will NOT be bold.</p>
Note that the value lead-para could have been assigned to any element within the document. In this particular case, it is applied to the first paragraph, but we could have applied it just as easily to the second or third paragraph. Or an unordered list. Or anything.
As with class selectors, it is possible to omit the universal selector from an ID selector. In the previous example, we could also have written:
#lead-para{font-weight:bold;}
The effect of this selector would be the same.
Another similarity between classes and IDs is that IDs can be selected independently of an element. There may be circumstances in which you know that a certain ID value will appear in a document, but you don’t know the element on which it will appear (as in the plutonium-handling warnings), so you’ll want to declare standalone ID selectors. For example, you may know that in any given document, there will be an element with an ID value of mostImportant. You don’t know whether that most important thing will be a paragraph, a short phrase, a list item, or a section heading. You know only that it will exist in each document, occur in an arbitrary element, and appear no more than once. In that case, you would write a rule like this:
#mostImportant{color:red;background:yellow;}
This rule would match any of the following elements (which, as noted before, should not appear together in the same document because they all have the same ID value):
<h1id="mostImportant">This is important!</h1><emid="mostImportant">This is important!</em><ulid="mostImportant">This is important!</ul>
You may assign classes to any number of elements, as demonstrated earlier; the class name warning was applied to both a p and a span element, and it could have been applied to many more elements. IDs, on the other hand, should be used once, and only once, within an HTML document. Therefore, if you have an element with an id value of lead-para, no other element in that document should have an id value of lead-para.
In the real world, browsers don’t always check for the uniqueness of IDs in HTML. That means that if you sprinkle an HTML document with several elements, all of which have the same value for their ID attributes, you’ll probably get the same styles applied to each. This is incorrect behavior, but it happens anyway. Having more than one of the same ID value in a document also makes DOM scripting more difficult, since functions like getElementById() depend on there being one, and only one, element with a given ID value.
Unlike class selectors, ID selectors can’t be combined with other IDs, since ID attributes do not permit a space-separated list of words.
Another difference between class and id names is that IDs carry more weight when you’re trying to determine which styles should be applied to a given element. This will be explained in greater detail in the next chapter.
Also note that class and ID selectors may be case-sensitive, depending on the document language. HTML defines class and ID values to be case-sensitive, so the capitalization of your class and ID values must match that found in your documents. Thus, in the following pairing of CSS and HTML, the element’s text will not be boldfaced:
p.criticalInfo{font-weight:bold;}
<pclass="criticalinfo">Don't look down.</p>
Because of the change in case for the letter i, the selector will not match the element shown.
On a purely syntactical level, the dot-class notation (e.g., .warning) is not guaranteed to work for XML documents. As of this writing, the dot-class notation works in HTML, SVG, and MathML, and it may well be permitted in future languages, but it’s up to each language’s specification to decide that. The hash-ID notation (e.g., #lead) will work in any document language that has an attribute that enforces uniqueness within a document. Uniqueness can be enforced with an attribute called id, or indeed anything else, as long as the attribute’s contents are defined to be unique within the document.
When it comes to both class and ID selectors, what you’re really doing is selecting values of attributes. The syntax used in the previous two sections is particular to HTML, XHTML, SVG, and MathML documents (as of this writing). In other markup languages, these class and ID selectors may not be available (as, indeed, those attributes may not be present). To address this situation, CSS2 introduced attribute selectors, which can be used to select elements based on their attributes and the values of those attributes. There are four general types of attribute selectors: simple attribute selectors, exact attribute value selectors, partial-match attribute value selectors, and leading-value attribute selectors.
If you want to select elements that have a certain attribute, regardless of that attribute’s value, you can use a simple attribute selector. For example, to select all h1 elements that have a class attribute with any value and make their text silver, write:
h1[class]{color:silver;}
So, given the following markup:
<h1class="hoopla">Hello</h1><h1>Serenity</h1><h1class="fancy">Fooling</h1>
you get the result shown in Figure 2-9.
This strategy is very useful in XML documents, as XML languages tend to have element and attribute names that are specific to their purpose. Consider an XML language that is used to describe planets of the solar system (we’ll call it PlanetML). If you want to select all pml-planet elements with a moons attribute and make them boldface, thus calling attention to any planet that has moons, you would write:
pml-planet[moons]{font-weight:bold;}
This would cause the text of the second and third elements in the following markup fragment to be boldfaced, but not the first:
<pml-planet>Venus</pml-planet><pml-planetmoons="1">Earth</pml-planet><pml-planetmoons="2">Mars</pml-planet>
In HTML documents, you can use this feature in a number of creative ways. For example, you could style all images that have an alt attribute, thus highlighting those images that are correctly formed:
img[alt]{border:3pxsolidred;}
(This particular example is generally useful more for diagnostic purposes—that is, determining whether images are indeed correctly marked up—than for design purposes.)
If you wanted to boldface any element that includes title information, which most browsers display as a “tool tip” when a cursor hovers over the element, you could write:
*[title]{font-weight:bold;}
Similarly, you could style only those anchors (a elements) that have an href attribute, thus applying the styles to any hyperlink but not to any placeholder anchors.
It is also possible to select based on the presence of more than one attribute. You do this by chaining the attribute selectors together. For example, to boldface the text of any HTML hyperlink that has both an href and a title attribute, you would write:
a[href][title]{font-weight:bold;}
This would boldface the first link in the following markup, but not the second or third:
<ahref="http://www.w3.org/"title="W3C Home">W3C</a><br/><ahref="http://www.webstandards.org">Standards Info</a><br/><atitle="Not a link">dead.letter</a>
You can further narrow the selection process to encompass only those elements whose attributes are a certain value. For example, let’s say you want to boldface any hyperlink that points to a certain document on the web server. This would look something like:
a[href="http://www.css-discuss.org/about.html"]{font-weight:bold;}
This will boldface the text of any a element that has an href attribute with exactly the value http://www.css-discuss.org/about.html. Any change at all, even dropping the www. part or changing to a secure protocol with https, will prevent a match.
Any attribute and value combination can be specified for any element. However, if that exact combination does not appear in the document, then the selector won’t match anything. Again, XML languages can benefit from this approach to styling. Let’s return to our PlanetML example. Suppose you want to select only those planet elements that have a value of 1 for the attribute moons:
planet[moons="1"]{font-weight:bold;}
This would boldface the text of the second element in the following markup fragment, but not the first or third:
<planet>Venus</planet><planetmoons="1">Earth</planet><planetmoons="2">Mars</planet>
As with attribute selection, you can chain together multiple attribute-value selectors to select a single document. For example, to double the size of the text of any HTML hyperlink that has both an href with a value of http://www.w3.org/ and a title attribute with a value of W3C Home, you would write:
a[href="http://www.w3.org/"][title="W3C Home"]{font-size:200%;}
This would double the text size of the first link in the following markup, but not the second or third:
<ahref="http://www.w3.org/"title="W3C Home">W3C</a><br/><ahref="http://www.webstandards.org"title="Web Standards Organization">Standards Info</a><br/><ahref="http://www.example.org/"title="W3C Home">dead.link</a>
The results are shown in Figure 2-10.
Again, this format requires an exact match for the attribute’s value. Matching becomes an issue when the selector form encounters values that can in turn contain a space-separated list of values (e.g., the HTML attribute class). For example, consider the following markup fragment:
<planettype="barren rocky">Mercury</planet>
The only way to match this element based on its exact attribute value is to write:
planet[type="barren rocky"]{font-weight:bold;}
If you were to write planet[type="barren"], the rule would not match the example markup and thus would fail. This is true even for the class attribute in HTML. Consider the following:
<pclass="urgent warning">When handling plutonium, care must be taken to avoid the formation of a critical mass.</p>
To select this element based on its exact attribute value, you would have to write:
p[class="urgent warning"]{font-weight:bold;}
This is not equivalent to the dot-class notation covered earlier, as we will see in the next section. Instead, it selects any p element whose class attribute has exactly the value "urgent warning", with the words in that order and a single space between them. It’s effectively an exact string match.
Also, be aware that ID selectors and attribute selectors that target the id attribute are not precisely the same. In other words, there is a subtle but crucial difference between h1#page-title and h1[id="page-title"]. This difference is explained in “Specificity”.
Odds are that you’ll want to select elements based on portions of their attribute values, rather than the full value. For such situations, CSS actually offers a variety of options for matching substrings in an attribute’s value. These are summarized in Table 2-1.
| Type | Description |
|---|---|
|
Selects any element with an attribute |
|
Selects any element with an attribute |
|
Selects any element with an attribute |
|
Selects any element with an attribute |
|
Selects any element with an attribute |
The last of these attribute selectors that match on a partial subset of an element’s attribute value is actually easier to show than it is to describe. Consider the following rule:
*[lang|="en"]{color:white;}
This rule will select any element whose lang attribute is equal to en or begins with en-. Therefore, the first three elements in the following example markup would be selected, but the last two would not:
<h1lang="en">Hello!</h1><plang="en-us">Greetings!</p><divlang="en-au">G'day!</div><plang="fr">Bonjour!</p><h4lang="cy-en">Jrooana!</h4>
In general, the form [att|="val"] can be used for any attribute and its values. Let’s say you have a series of figures in an HTML document, each of which has a filename like figure-1.gif and figure-3.jpg. You can match all of these images using the following selector:
img[src|="figure"]{border:1pxsolidgray;}
Or, if you’re creating a CSS framework or pattern library, instead of creating redundant classes like "btn btn-small btn-arrow btn-active", you can declare "btn-small-arrow-active", and target the class of elements with:
*[class|="btn"]{border-radius:5px;}<buttonclass="btn-small-arrow-active">ClickMe</button>
The most common use for this type of attribute selector is to match language values, as demonstrated in an upcoming section, “The :lang Pseudo-Class”.
For any attribute that accepts a space-separated list of words, it is possible to select elements based on the presence of any one of those words. The classic example in HTML is the class attribute, which can accept one or more words as its value. Consider our usual example text:
<pclass="urgent warning">When handling plutonium, care must be taken to avoid the formation of a critical mass.</p>
Let’s say you want to select elements whose class attribute contains the word warning. You can do this with an attribute selector:
p[class~="warning"]{font-weight:bold;}
Note the presence of the tilde (~) in the selector. It is the key to selection based on the presence of a space-separated word within the attribute’s value. If you omit the tilde, you would have an exact value-matching attribute selector, as discussed in the previous section.
This selector construct is equivalent to the dot-class notation discussed in “Deciding Between Class and ID”. Thus, p.warning and p[class~="warning"] are equivalent when applied to HTML documents. Here’s an example that is an HTML version of the “PlanetML” markup seen earlier:
<spanclass="barren rocky">Mercury</span><spanclass="cloudy barren">Venus</span><spanclass="life-bearing cloudy">Earth</span>
To italicize all elements with the word barren in their class attribute, you write:
span[class~="barren"]{font-style:italic;}
This rule’s selector will match the first two elements in the example markup and thus italicize their text, as shown in Figure 2-11. This is the same result we would expect from writing span.barren {font-style: italic;}.
So why bother with the tilde-equals attribute selector in HTML? Because it can be used for any attribute, not just class. For example, you might have a document that contains a number of images, only some of which are figures. You can use a partial-match value attribute selector aimed at the title text to select only those figures:
img[title~="Figure"]{border:1pxsolidgray;}
This rule selects any image whose title text contains the word Figure. Therefore, as long as all your figures have title text that looks something like “Figure 4. A bald-headed elder statesman,” this rule will match those images. For that matter, the selector img[title~="Figure"] will also match a title attribute with the value “How to Figure Out Who’s in Charge.” Any image that does not have a title attribute, or whose title value doesn’t contain the word “Figure,” won’t be matched.
Sometimes you want to select elements based on a portion of their attribute values, but the values in question aren’t space-separated lists of words. In these cases, you can use the form [att*="val"] to match substrings that appear anywhere inside the attribute values. For example, the following CSS matches any span element whose class attribute contains the substring cloud, so both “cloudy” planets are matched, as shown in Figure 2-12:
span[class*="cloud"]{font-style:italic;}
<spanclass="barren rocky">Mercury</span><spanclass="cloudy barren">Venus</span><spanclass="life-bearing cloudy">Earth</span>
As you can imagine, there are many useful applications for this particular capability. For example, suppose you wanted to specially style any links to the O’Reilly website. Instead of classing them all and writing styles based on that class, you could instead write the following rule:
a[href*="oreilly.com"]{font-weight:bold;}
You aren’t confined to the class and href attributes. Any attribute is up for grabs here: title, alt, src, id…if the attribute has a value, you can style based on a substring within that value. The following rule draws attention to any image with the string “space” in its source URL:
img[src*="space"]{border:5pxsolidred;}
Similarly, the following rule draws attention to input elements that have a title tells the user what to, and any other input whose title contains the substring “format” in its title:
input[title*="format"]{background-color:#dedede;}
<inputtype="tel"title="Telephone number should be formatted as XXX-XXX-XXXX"pattern="\d{3}\-\d{3}\-\d{4}">
A common use for the general substring attribute selector is to match a section of a class in pattern library class names. Elaborating on the last example, we can target any class name that starts with "btn" followed by a dash, and that contains the substring “arrow” preceded by a dash:
*[class|="btn"][class*="-arrow"]:after{content:"▼";}
<buttonclass="btn-small-arrow-active">Click Me</button>
The matches are exact: if you include whitespace in your selector, then whitespace must also be present in an attribute’s value. The attribute names and values must be case-sensitive only if the underlying document language requires case sensitivity. Class names, titles, URLs, and ID values are all case-sensitive, but HTML attribute keyterm values, such as input types, are not:
input[type="CHeckBoX"]{margin-right:10px;}
<inputtype="checkbox"name="rightmargin"value="10px">
In cases where you want to select elements based on a substring at the beginning of an attribute value, then the attribute selector pattern [att^="val"] is what you’re seeking. This can be particularly useful in a situation where you want to style types of links differently, as illustrated in Figure 2-13.
a[href^="https:"]{font-weight:bold;}a[href^="mailto:"]{font-style:italic;}
Another use case is when you want to style all images in an article that are also figures, as in the figures you see throughout this text. Assuming that the alt text of each figure begins with text in the pattern “Figure 5”—which is an entirely reasonable assumption in this case—then you can select only those images as follows:
img[alt^="Figure"]{border:2pxsolidgray;display:block;margin:2emauto;}
The potential drawback here is that any img element whose alt starts with “Figure” will be selected, whether or not it’s meant to be an illustrative figure. The likeliness of that occurring depends on the document in question.
Another use case is selecting all of the calendar events that occur on Mondays. In this case, let’s assume all of the events have a title attribute containing a date in the format “Monday, March 5th, 2012.” Selecting them all is a simple matter of [title^="Monday"].
The mirror image of beginning-substring matching is ending-substring matching, which is accomplished using the [att$="val"] pattern. A very common use for this capability is to style links based on the kind of resource they target, such as separate styles for PDF documents, as illustrated in Figure 2-14.
a[href$=".pdf"]{font-weight:bold;}
Similarly, you could (for whatever reason) select images based on their image format:
img[src$=".gif"]{...}img[src$=".jpg"]{...}img[src$=".png"]{...}
To continue the calendar example from the previous section, it would be possible to select all of the events occurring within a given year using a selector like [title$="2015"].
You may have noticed that I’ve quoted all the attribute values in the attribute selectors. Quoting is required if the value includes any special characters, begins with a dash or digit, or is otherwise invalid as an identifier and needs to be quoted as a string. To be safe, I recommend always quoting attribute values in attribute selectors, even though it is only required to makes strings out of invalid identifiers.
CSS Selectors level 4 introduces a case-insensitivity option to attribute selectors. Including an i before the closing bracket will allow the selector to match attribute values case-insensitively, regardless of document language rules.
For example, suppose you want to select all links to PDF documents, but you don’t know if they’ll end in .pdf, .PDF, or even .Pdf. Here’s how:
a[href$='.PDF'i]
Adding that humble little i means the selector will match any a element whose href attribute’s value ends in .pdf, regardless of the capitalization of the letters P, D, and F.
This case-insensitivity option is available for all attribute selectors we’ve covered. Note, however, that this only applies to the values in the attribute selectors. It does not enforce case insensitivity on the attribute names themselves. Thus, in a case-sensitive language, planet[type*="rock" i] will match all of the following:
<planettype="barren rocky">Mercury</planet><planettype="cloudy ROCKY">Venus</planet><planettype="life-bearing Rock">Earth</planet>
It will not match the following element, because the attribute TYPE isn’t matched by type:
<planetTYPE="dusty rock">Mars</planet>
Again, that’s in languages that enforce case sensitivity in the element and attribute syntax. XHTML was one such. In languages that are case-insensitive, like HTML5, this isn’t an issue.
As of late 2017, Opera Mini, the Android browser, and Edge did not support this capability.
CSS is powerful because it uses the structure of documents to determine appropriate styles and how to apply them. Yet structure plays a much larger role in the way styles are applied to a document. Let’s take a moment to discuss structure before moving on to more powerful forms of selection.
To understand the relationship between selectors and documents, we need to once again examine how documents are structured. Consider this very simple HTML document:
<html><head><basehref="http://www.meerkat.web/"><title>Meerkat Central</title></head><body><h1>Meerkat<em>Central</em></h1><p>Welcome to Meerkat<em>Central</em>, the<strong>best meerkat web site on<ahref="inet.html">the<em>entire</em>Internet</a></strong>!</p><ul><li>We offer:<ul><li><strong>Detailed information</strong>on how to adopt a meerkat</li><li>Tips for living with a meerkat</li><li><em>Fun</em>things to do with a meerkat, including:<ol><li>Playing fetch</li><li>Digging for food</li><li>Hide and seek</li></ol></li></ul></li><li>...and so much more!</li></ul><p>Questions?<ahref="mailto:suricate@meerkat.web">Contact us!</a></p></body></html>
Much of the power of CSS is based on the parent-child relationship of elements. HTML documents (actually, most structured documents of any kind) are based on a hierarchy of elements, which is visible in the “tree” view of the document (see Figure 2-15). In this hierarchy, each element fits somewhere into the overall structure of the document. Every element in the document is either the parent or the child of another element, and it’s often both.
An element is said to be the parent of another element if it appears directly above that element in the document hierarchy. For example, in Figure 2-15, the first p element is parent to the em and strong elements, while strong is parent to an anchor (a) element, which is itself parent to another em element. Conversely, an element is the child of another element if it is directly beneath the other element. Thus, the anchor element in Figure 2-15 is a child of the strong element, which is in turn child to the p element, which is itself child to the body, and so on.
The terms “parent” and “child” are specific applications of the terms ancestor and descendant. There is a difference between them: in the tree view, if an element is exactly one level above or below another, then they have a parent-child relationship. If the path from one element to another is traced through two or more levels, the elements have an ancestor-descendant relationship, but not a parent-child relationship. (A child is also a descendant, and a parent is also an ancestor.) In Figure 2-15, the first ul element is parent to two li elements, but the first ul is also the ancestor of every element descended from its li element, all the way down to the most deeply nested li elements.
Also, in Figure 2-15, there is an anchor that is a child of strong, but also a descendant of p, body, and html elements. The body element is an ancestor of everything that the browser will display by default, and the html element is ancestor to the entire document. For this reason, in an HTML or XHTML document, the html element is also called the root element.
The first benefit of understanding this model is the ability to define descendant selectors (also known as contextual selectors). Defining descendant selectors is the act of creating rules that operate in certain structural circumstances but not others. As an example, let’s say you want to style only those em elements that are descended from h1 elements. You could put a class attribute on every em element found within an h1, but that’s almost as time-consuming as using the font tag. It’s far more efficient to declare rules that match only em elements that are found inside h1 elements.
To do so, write the following:
h1em{color:gray;}
This rule will make gray any text in an em element that is the descendant of an h1 element. Other em text, such as that found in a paragraph or a block quote, will not be selected by this rule. Figure 2-16 makes this clear.
In a descendant selector, the selector side of a rule is composed of two or more space-separated selectors. The space between the selectors is an example of a combinator. Each space combinator can be translated as “found within,” “which is part of,” or “that is a descendant of,” but only if you read the selector right to left. Thus, h1 em can be translated as, “Any em element that is a descendant of an h1 element.” (To read the selector left to right, you might phrase it something like, “Any h1 that contains an em will have the following styles applied to the em.”)
You aren’t limited to two selectors. For example:
ulolulem{color:gray;}
In this case, as Figure 2-17 shows, any emphasized text that is part of an unordered list that is part of an ordered list that is itself part of an unordered list (yes, this is correct) will be gray. This is obviously a very specific selection criterion.
Descendant selectors can be extremely powerful. They make possible what could never be done in HTML—at least not without oodles of font tags. Let’s consider a common example. Assume you have a document with a sidebar and a main area. The sidebar has a blue background, the main area has a white background, and both areas include lists of links. You can’t set all links to be blue because they’d be impossible to read in the sidebar.
The solution: descendant selectors. In this case, you give the element that contains your sidebar a class of sidebar and enclose the main area in a main element. Then, you write styles like this:
.sidebar{background:blue;}main{background:white;}.sidebara:link{color:white;}maina:link{color:blue;}
Figure 2-18 shows the result.
:link refers to links to resources that haven’t been visited. We’ll talk about it in detail in “Hyperlink pseudo-classes”.
Here’s another example: let’s say that you want gray to be the text color of any b (boldface) element that is part of a blockquote and for any bold text that is found in a normal paragraph:
blockquote b, p b {color: gray;}
The result is that the text within b elements that are descended from paragraphs or block quotes will be gray.
One overlooked aspect of descendant selectors is that the degree of separation between two elements can be practically infinite. For example, if you write ul em, that syntax will select any em element descended from a ul element, no matter how deeply nested the em may be. Thus, ul em would select the em element in the following markup:
<ul><li>List item 1<ol><li>List item 1-1</li><li>List item 1-2</li><li>List item 1-3<ol><li>List item 1-3-1</li><li>List item<em>1-3-2</em></li><li>List item 1-3-3</li></ol></li><li>List item 1-4</li></ol></li></ul>
A more subtle aspect of descendant selectors is that they have no notion of element proximity. In other words, the closeness of two elements within the document tree has no bearing on whether a rule applies or not. This is important when it comes to specificity (which we’ll cover later on) and when considering rules that might appear to cancel each other out.
For example, consider the following (which contains a selector type we’ll discuss in the upcoming section, “The Negation Pseudo-Class”):
div:not(.help)span{color:gray;}div.helpspan{color:red;}
<divclass="help"><divclass="aside">This text contains<span>a span element</span>within.</div></div>
What the CSS says, in effect, is “any span inside a div that doesn’t have a class containing the word help should be gray” in the first rule, and “any span inside a div whose class contains the word help” in the second rule. In the given markup fragment, both rules apply to the span shown.
Because the two rules have equal weight and the “red” rule is written last, it wins out and the span is red. The fact that the div class="aside" is “closer to” the span than the div class="help" is irrelevant. Again: descendant selectors have no notion of element proximity. Both rules match, only one color can be applied, and due to the way CSS works, red is the winner here. (We’ll discuss why in the next chapter.)
In some cases, you don’t want to select an arbitrarily descended element. Rather, you want to narrow your range to select an element that is a child of another element. You might, for example, want to select a strong element only if it is a child (as opposed to any level of descendant) of an h1 element. To do this, you use the child combinator, which is the greater-than symbol (>):
h1>strong{color:red;}
This rule will make red the strong element shown in the first h1, but not the second:
<h1>This is<strong>very</strong>important.</h1><h1>This is<em>really<strong>very</strong></em>important.</h1>
Read right to left, the selector h1 > strong translates as, “Selects any strong element that is a direct child of an h1 element.” The child combinator can be optionally surrounded by whitespace. Thus, h1 > strong, h1> strong, and h1>strong are all equivalent. You can use or omit whitespace as you wish.
When viewing the document as a tree structure, it’s easy to see that a child selector restricts its matches to elements that are directly connected in the tree. Figure 2-19 shows part of a document tree.
In this tree fragment, you can pick out parent-child relationships. For example, the a element is parent to the strong, but it is child to the p element. You could match elements in this fragment with the selectors p > a and a > strong, but not p > strong, since the strong is a descendant of the p but not its child.
You can also combine descendant and child combinations in the same selector. Thus, table.summary td > p will select any p element that is a child of a td element that is itself descended from a table element that has a class attribute containing the word summary.
Let’s say you want to style the paragraph immediately after a heading, or give a special margin to a list that immediately follows a paragraph. To select an element that immediately follows another element with the same parent, you use the adjacent-sibling combinator, represented as a plus symbol (+). As with the child combinator, the symbol can be surrounded by whitespace, or not, at the author’s discretion.
To remove the top margin from a paragraph immediately following an h1 element, write:
h1+p{margin-top:0;}
The selector is read as, “Selects any p element that immediately follows an h1 element that shares a parent with the p element.”
To visualize how this selector works, it is easiest to once again consider a fragment of a document tree, shown in Figure 2-20.
In this fragment, a pair of lists descends from a div element, one ordered and the other not, each containing three list items. Each list is an adjacent sibling, and the list items themselves are also adjacent siblings. However, the list items from the first list are not siblings of the second, since the two sets of list items do not share the same parent element. (At best, they’re cousins, and CSS has no cousin selector.)
Remember that you can select the second of two adjacent siblings only with a single combinator. Thus, if you write li + li {font-weight: bold;}, only the second and third items in each list will be boldfaced. The first list items will be unaffected, as illustrated in Figure 2-21.
To work properly, CSS requires that the two elements appear in “source order.” In our example, an ol element is followed by a ul element. This allows us to select the second element with ol + ul, but we cannot select the first using the same syntax. For ul + ol to match, an ordered list must immediately follow an unordered list.
Keep in mind that text content between two elements does not prevent the adjacent-sibling combinator from working. Consider this markup fragment, whose tree view would be the same as that shown in Figure 2-19:
<div><ol><li>List item 1</li><li>List item 1</li><li>List item 1</li></ol>This is some text that is part of the 'div'.<ul><li>A list item</li><li>Another list item</li><li>Yet another list item</li></ul></div>
Even though there is text between the two lists, we can still match the second list with the selector ol + ul. That’s because the intervening text is not contained with a sibling element, but is instead part of the parent div. If we wrapped that text in a paragraph element, it would then prevent ol + ul from matching the second list. Instead, we might have to write something like ol + p + ul.
As the following example illustrates, the adjacent-sibling combinator can be used in conjunction with other combinators:
html>bodytable+ul{margin-top:1.5em;}
The selector translates as, “Selects any ul element that immediately follows a sibling table element that is descended from a body element that is itself a child of an html element.”
As with all combinators, you can place the adjacent-sibling combinator in a more complex setting, such as div#content h1 + div ol. That selector is read as, “Selects any ol element that is descended from a div when the div is the adjacent sibling of an h1 which is itself descended from a div whose id attribute has a value of content.”
Selectors Level 3 introduced a new sibling combinator called the general sibling combinator. This lets you select any element that follows another element when both elements share the same parent, represented using the tilde (~) combinator.
As an example, to italicize any ol that follows an h2 and also shares a parent with the h2, you’d write h2 ~ol {font-style: italic;}. The two elements do not have to be adjacent siblings, although they can be adjacent and still match this rule. The result of applying this rule to the following markup is shown in Figure 2-22:
<div><h2>Subheadings</h2><p>It is the case that not every heading can be a main heading. Some headings must be subheadings. Examples include:</p><ol><li>Headings that are less important</li><li>Headings that are subsidiary to more important headlines</li><li>Headings that like to be dominated</li></ol><p>Let's restate that for the record:</p><ol><li>Headings that are less important</li><li>Headings that are subsidiary to more important headlines</li><li>Headings that like to be dominated</li></ol></div>
As you can see, both ordered lists are italicized. That’s because both of them are ol elements that follow an h2 with which they share a parent (the div).
Things get really interesting with pseudo-class selectors. These selectors let you assign styles to what are, in effect, phantom classes that are inferred by the state of certain elements, or markup patterns within the document, or even by the state of the document itself.
The phrase “phantom classes” might seem a little odd, but it really is the best way to think of how pseudo-classes work. For example, suppose you wanted to highlight every other row of a data table. You could do that by marking up every other row something like class="even" and then writing CSS to highlight rows with that class—or (as we’ll soon see) you could use a pseudo-class selector to achieve the same effect, and through very similar means.
Before we start, a word about chaining. CSS makes it possible to combine (“chain”) pseudo-classes together. For example, you can make unvisited links red when they’re hovered and visited links maroon when they’re hovered:
a:link:hover{color:red;}a:visited:hover{color:maroon;}
The order you specify doesn’t actually matter; you could also write a:hover:link to the same effect as a:link:hover. It’s also possible to assign separate hover styles to unvisited and visited links that are in another language—for example, German:
a:link:hover:lang(de){color:gray;}a:visited:hover:lang(de){color:silver;}
Be careful not to combine mutually exclusive pseudo-classes. For example, a link cannot be both visited and unvisited, so a:link:visited doesn’t make any sense and will never match anything.
The majority of pseudo-classes are structural in nature; that is, they refer to the markup structure of the document. Most of them depend on patterns within the markup, such as choosing every third paragraph, but others allow you to address specific types of elements. All pseudo-classes, without exception, are a word preceded by a single colon (:), and they can appear anywhere in a selector.
Before we get started, there’s an aspect of pseudo-classes that needs to be made explicit here: pseudo-classes always refer to the element to which they’re attached, and no other. Seems like a weirdly obvious thing to say, right? The reason to make it explicit is that for a few of the structural pseudo-classes, it’s a common error to think they are descriptors that refer to descendant elements.
To illustrate this, I’d like to share a personal anecdote. When my first child was born in 2003, I announced it online (like you do). A number of people responded with congratulations and CSS jokes, chief among them the selector #ericmeyer:first-child. The problem there is that selector would select me, not my daughter, and only if I were the first child of my parents (which, as it happens, I am). To properly select my first child, that selector would need to be #ericmeyer > :first-child.
The confusion is understandable, which is why I’m addressing it here. Reminders will be found throughout the following sections. Just always keep in mind that the effect of pseudo-classes is to apply a sort of a “phantom class” to the element to which they’re attached, and you should be OK.
This is the quintessence of structural simplicity: the pseudo-class :root selects the root element of the document. In HTML, this is always the html element. The real benefit of this selector is found when writing stylesheets for XML languages, where the root element may be different in every language—for example, in RSS 2.0 it’s the rss element—or even when you have more than one possible root element within a single language (though not a single document!).
Here’s an example of styling the root element in HTML, as illustrated in Figure 2-23:
:root{border:10pxdottedgray;}body{border:10pxsolidblack;}
In HTML documents, you can always select the html element directly, without having to use the :root pseudo-class. There is a difference between the two selectors in terms of specificity, which we’ll cover in Chapter 3.
With the pseudo-class :empty, you can select any element that has no children of any kind, including text nodes, which covers both text and whitespace. This can be useful in suppressing elements that a CMS has generated without filling in any actual content. Thus, p:empty {display: none;} would prevent the display of any empty paragraphs.
Note that in order to be matched, an element must be, from a parsing perspective, truly empty—no whitespace, visible content, or descendant elements. Of the following elements, only the first and last would be matched by p:empty:
<p></p><p></p><p></p><p><!—-a comment--></p>
The second and third paragraphs are not matched by :empty because they are not empty: they contain, respectively, a single space and a single newline character. Both are considered text nodes, and thus prevent a state of emptiness. The last paragraph matches because comments are not considered content, not even whitespace. But put even one space or newline to either side of that comment, and p:empty would fail to match.
You might be tempted to just style all empty elements with something like *:empty {display: none;}, but there’s a hidden catch: :empty matches HTML’s empty elements, like img and input. It could even match textarea, unless you insert some default text into the textarea element. Thus, in terms of matching elements, img and img:empty are effectively the same. (They are different in terms of specificity, which we’ll cover in the next chapter.)
<imgsrc="salmon.png"alt="North Pacific Salmon"><br><inputtype="number"min="-1"max="1"step=".01"/><textarea></textarea>
If you’ve ever wanted to select all the images that are wrapped by a hyperlink element, the :only-child pseudo-class is for you. It selects elements when they are the only child element of another element. So let’s say you want to add a border to any image that’s the only child of another element. You’d write:
img:only-child{border:1pxsolidblack;}
This would match any image that meets those criteria. Therefore, if you had a paragraph which contained an image and no other child elements, the image would be selected regardless of all the text surrounding it. If what you’re really after is images that are sole children and found inside hyperlinks, then you just modify the selector like so (which is illustrated in Figure 2-24):
a[href]img:only-child{border:2pxsolidblack;}
<ahref="http://w3.org/"><imgsrc="w3.png"alt="W3C"></a><ahref="http://w3.org/"><imgsrc="w3.png"alt="">The W3C</a><ahref="http://w3.org/"><imgsrc="w3.png"alt=""><em>The W3C</em></a>
There are two things to remember about :only-child. The first is that you always apply it to the element you want to be an only child, not to the parent element, as explained earlier. And that brings up the second thing to remember, which is that when you use :only-child in a descendant selector, you aren’t restricting the elements listed to a parent-child relationship.
To go back to the hyperlinked-image example, a[href] img:only-child matches any image that is an only child and is descended from an a element, not is a child of an a element. To match, the element image must be the only child of its direct parent, and a descendant of a link, but that parent can itself be a descendant of that link. Therefore, all three of the images here would be matched, as shown in Figure 2-25:
a[href]img:only-child{border:5pxsolidblack;}
<ahref="http://w3.org/"><imgsrc="w3.png"alt="W3C"></a><ahref="http://w3.org/"><span><imgsrc="w3.png"alt="W3C"></span></a><ahref="http://w3.org/">A link to<span>the<imgsrc="w3.png"alt="">web</span>site</a>
In each case, the image is the only child element of its parent, and it is also descended from an a element. Thus, all three images are matched by the rule shown. If you wanted to restrict the rule so that it matched images that were the only children of a elements, then you’d just add the child combinator to yield a[href] > img:only-child. With that change, only the first of the three images shown in Figure 2-25 would be matched.
That’s all great, but what if you want to match images that are the only images inside hyperlinks, but there are other elements in there with them? Consider the following:
<ahref="http://w3.org/"><b>•</b><imgsrc="w3.png"alt="W3C"></a>
In this case, we have an a element that has two children: b and img. That image, no longer being the only child of its parent (the hyperlink), can never be matched using :only-child. However, it can be matched using :only-of-type. This is illustrated in Figure 2-26:
a[href]img:only-of-type{border:5pxsolidblack;}
<ahref="http://w3.org/"><b>•</b><imgsrc="w3.png"alt="W3C"></a><ahref="http://w3.org/"><span><b>•</b><imgsrc="w3.png"alt="W3C"></span></a>
The difference is that :only-of-type will match any element that is the only of its type among all its siblings, whereas :only-child will only match if an element has no siblings at all.
This can be very useful in cases such as selecting images within paragraphs without having to worry about the presence of hyperlinks or other inline elements:
p>img:only-of-type{float:right;margin:20px;}
As long as there aren’t multiple images that are children of the same paragraph, then the image will be floated. You could also use this pseudo-class to apply extra styles to an h2 when it’s the only one in a section of a document, like this:
section>h2{margin:1em00.33em;font-size:1.8rem;border-bottom:1pxsolidgray;}section>h2:only-of-type{font-size:2.4rem;}
Given those rules, any section that has only one child h2 will have it appear larger than usual. If there are two or more h2 children to a section, neither of them will be larger than the other. The presence of other children—whether they are other heading levels, paragraphs, tables, paragraphs, lists, and so on—will not interfere with matching.
There’s one more thing to make clear, which is that :only-of-type refers to elements and nothing else. Consider the following:
p.unique:only-of-type{color:red;}
<div><pclass="unique">This paragraph has a 'unique' class.</p><p>This paragraph doesn't have a class at all.</p></div>
In this case, neither of the paragraphs will be selected. Why not? Because there are two paragraphs that are descendants of the div, so neither of them can be the only one of their type.
The class name is irrelevant here. We’re fooled into thinking that “type” is a generic description, because of how we parse language. Type, in the way :only-of-type means it, refers only to the element type. Thus, p.unique:only-of-type means “select any p element whose class attribute contains the word unique when the p element is the only p element among its siblings.” It does not mean “select any p element whose class attribute contains the word unique when it’s the only sibling paragraph to meet that criterion.”
It’s pretty common to want to apply special styling to the first or last child of an element. A common example is styling a bunch of navigation links in a tab bar, and wanting to put some special visual touches on the first or last tab (or both). In the past, this was done by applying special classes to those elements. Now we have pseudo-classes to carry the load for us.
The pseudo-class :first-child is used to select elements that are the first children of other elements. Consider the following markup:
<div><p>These are the necessary steps:</p><ul><li>Insert key</li><li>Turn key<strong>clockwise</strong></li><li>Push accelerator</li></ul><p>Do<em>not</em>push the brake at the same time as the accelerator.</p></div>
In this example, the elements that are first children are the first p, the first li, and the strong and em elements, which are all the first children of their respective parents. Given the following two rules:
p:first-child{font-weight:bold;}li:first-child{text-transform:uppercase;}
we get the result shown in Figure 2-27.
The first rule boldfaces any p element that is the first child of another element. The second rule uppercases any li element that is the first child of another element (which, in HTML, must be either an ol or ul element).
As has been mentioned, the most common error is assuming that a selector like p:first-child will select the first child of a p element. Remember the nature of pseudo-classes, which is to attach a sort of phantom class to the element associated with the pseudo-class. If you were to add actual classes to the markup, it would look like this:
<div><pclass="first-child">Thesearethenecessarysteps:</p><ul><liclass="first-child">Insertkey</li><li>Turnkey<strongclass="first-child">clockwise</strong></li><li>Pushaccelerator</li></ul><p>Do<emclass="first-child">not</em>pushthebrakeatthesametimeastheaccelerator.</p></div>
Therefore, if you want to select those em elements that are the first child of another element, you write em:first-child.
The mirror image of :first-child is :last-child. If we take the previous example and just change the pseudo-classes, we get the result shown in Figure 2-28.
p:last-child{font-weight:bold;}li:last-child{text-transform:uppercase;}
<div><p>These are the necessary steps:</p><ul><li>Insert key</li><li>Turn key<strong>clockwise</strong></li><li>Push accelerator</li></ul><p>Do<em>not</em>push the brake at the same time as the accelerator.</p></div>
The first rule boldfaces any p element that is the last child of another element. The second rule uppercases any li element that is the last child of another element. If you wanted to select the em element inside that last paragraph, you could use the selector p:last-child em, which selects any em element that descends from a p element that is itself the last child of another element.
Interestingly, you can combine these two pseudo-classes to create a version of :only-child. The following two rules will select the same elements:
p:only-child{color:red;}p:first-child:last-child{background-color:red;}
Either way, we get paragraphs with red foreground and background colors (not a good idea, clearly).
In a manner similar to selecting the first and last children of an element, you can select the first or last of a type of element within another element. This permits things like selecting the first table inside a given element, regardless of whatever elements come before it.
table:first-of-type{border-top:2pxsolidgray;}
Note that this does not apply to the entire document; that is, the rule shown will not select the first table in the document and skip all the others. It will instead select the first table element within each element that contains one, and skip any sibling table elements that come after the first. Thus, given the document structure shown in Figure 2-29, the circled nodes are the ones that are selected.
Within the context of tables, a useful way to select the first data cell within a row regardless of whether a header cell comes before it in the row is as follows:
td:first-of-type{border-left:1pxsolidred;}
That would select the first data cell in each of the following table rows:
<tr><thscope="row">Count</th><td>7</td><td>6</td><td>11</td></tr><tr><td>Q</td><td>X</td><td>-</td></tr>
Compare that to the effects of td:first-child, which would select the first td element in the second row, but not in the first row.
The flip side is :last-of-type, which selects the last instance of a given type from amongst its sibling elements. In a way, it’s just like :first-of-type except you start with the last element in a group of siblings and walk backward toward the first element until you reach an instance of the type. Given the document structure shown in Figure 2-30, the circled nodes are the ones selected by table:last-of-type.
As was noted with :only-of-type, remember that you are selecting elements of a type from among their sibling elements; thus, every set of siblings is considered separately. In other words, you are not selecting the first (or last) of all the elements of a type within the entire document as a single group. Each set of elements that share a parent is its own group, and you can select the first (or last) of a type within each group.
Similar to what was noted in the previous section, you can combine these two pseudo-classes to create a version of :only-of-type. The following two rules will select the same elements:
table:only-of-type{color:red;}table:first-of-type:last-of-type{background:red;}
If you can select elements that are the first, last, or only children of other elements, how about every third child? All even children? Only the ninth child? Rather than define a literally infinite number of named pseudo-classes, CSS has the :nth-child() pseudo-class. By filling integers or even simple algebraic expressions into the parentheses, you can select any arbitrarily numbered child element you like.
Let’s start with the :nth-child() equivalent of :first-child, which is :nth-child(1). In the following example, the selected elements will be the first paragraph and the first list item.
p:nth-child(1){font-weight:bold;}li:nth-child(1){text-transform:uppercase;}
<div><p>These are the necessary steps:</p><ul><li>Insert key</li><li>Turn key<strong>clockwise</strong></li><li>Push accelerator</li></ul><p>Do<em>not</em>push the brake at the same time as the accelerator.</p></div>
If we change the numbers from 1 to 2, however, then no paragraphs will be selected, and the middle (or second) list item will be selected, as illustrated in Figure 2-31:
p:nth-child(2){font-weight:bold;}li:nth-child(2){text-transform:uppercase;}
You can insert any integer you choose; if you have a use case for selecting any ordered list that is the 93rd child element of its parent, then ol:nth-child(93) is ready to serve. This will match the 93rd child of any parent as long as that child is an ordered list. (This does not mean the 93rd ordered list among its siblings; see the next section for that.)
More powerfully, you can use simple algebraic expressions in the form a n + b or a n − b to define recurring instances, where a and b are integers and n is present as itself. Furthermore, the + b or − b part is optional and thus can be dropped if it isn’t needed.
Let’s suppose we want to select every third list item in an unordered list, starting with the first. The following makes that possible, selecting the first and fourth items, as shown in Figure 2-32.
ul>li:nth-child(3n+1){text-transform:uppercase;}
The way this works is that n represents the series 0, 1, 2, 3, 4, and on into infinity. The browser then solves for 3 n + 1, yielding 1, 4, 7, 10, 13, and so on. Were we to drop the +1, thus leaving us with simply 3n, the results would be 0, 3, 6, 9, 12, and so on. Since there is no zeroth list item—all element counting starts with one, to the likely chagrin of array-slingers everywhere—the first list item selected by this expression would be the third list item in the list.
Given that element counting starts with one, it’s a minor trick to deduce that :nth-child(2n) will select even-numbered children, and either :nth-child(2n+1) or :nth-child(2n-1) will select odd-numbered children. You can commit that to memory, or you can use the two special keywords that :nth-child() accepts: even and odd. Want to highlight every other row of a table, starting with the first? Here’s how you do it, with the results shown in Figure 2-33:
tr:nth-child(odd){background:silver;}
Anything more complex than every-other-element requires an an + b expression.
Note that when you want to use a negative number for b, you have to remove the + sign or else the selector will fail entirely. Of the following two rules, only the first will do anything. The second will be dropped by the parser and ignored:
tr:nth-child(4n-2){background:silver;}tr:nth-child(3n+−2){background:red;}
If you want to select every row starting with the ninth, you can use either of the following. They are similar in that they will select all rows starting with the ninth, but the latter one has greater specificity, which we discuss in Chapter 3:
tr:nth-child(n+9){background:silver;}tr:nth-child(8)~tr{background:silver;}
As you might expect, there is a corresponding pseudo-class in :nth-last-child(). This lets you do the same thing as :nth-child(), except with :nth-last-child() you start from the last element in a list of siblings and count backward toward the beginning. If you’re intent on highlighting every other table row and making sure the very last row is one of the rows in the highlighting pattern, either one of these will work for you:
tr:nth-last-child(odd){background:silver;}tr:nth-last-child(2n+1){background:silver;}/* equivalent */
If the DOM is updated to add or remove table rows, there is no need to add or remove classes. By using structural selectors, these selectors will always match the odd rows of the updated DOM.
Any element can be matched using both :nth-child() and :nth-last-child() if it fits the criteria. Consider these rules, the results of which are shown in Figure 2-34:
li:nth-child(3n+3){border-left:5pxsolidblack;}li:nth-last-child(4n-1){border-right:5pxsolidblack;background:silver;}
It’s also the case that you can string these two pseudo-classes together as :nth-child(1):nth-last-child(1), thus creating a more verbose restatement of :only-child. There’s no real reason to do so other than to create a selector with a higher specificity, but the option is there.
You can use CSS to determine how many list items are in a list, and style them accordingly:
li:only-child{width:100%;}li:nth-child(1):nth-last-child(2),li:nth-child(2):nth-last-child(1){width:50%;}li:nth-child(1):nth-last-child(3),li:nth-child(1):nth-last-child(3)~li{width:33.33%;}li:nth-child(1):nth-last-child(4),li:nth-child(1):nth-last-child(4)~li{width:25%;}
In these examples, if a list item is the only list item, then the width is 100%. If a list item is the first item and also the second-from-the-last item, that means there are two items, and the width is 50%. If an item is the first item and also the third from the last item, then we make it, and the two sibling list items following it, 33% wide. Similarly, if a list item is the first item and also the fourth from the last item, it means that there are exactly four items, so we make it, and its three siblings, 25% of the width.
In what’s probably become a familiar pattern, the :nth-child() and :nth-last-child() pseudo-classes have analogues in :nth-of-type() and :nth-last-of-type(). You can, for example, select every other hyperlink that’s a child of any given paragraph, starting with the second, using p > a:nth-of-type(even). This will ignore all other elements (spans, strongs, etc.) and consider only the links, as demonstrated in Figure 2-35:
p>a:nth-of-type(even){background:blue;color:white;}
If you want to work from the last hyperlink backward, then you’d use p >
a:nth-last-of-type(even).
As before, these select elements of a type from among their sibling elements, not from among all the elements of a type within the entire document as a single group. Each element has its own list of siblings, and selections happen within each group.
As you might expect, you can string these two together as :nth-of-type(1):nth-last-of-type(1) to restate :only-of-type, only with higher specificity. (We will explain specificity in Chapter 3, I promise.)
Beyond the structural pseudo-classes, there are a set of pseudo-classes that relate to structure but can change based on changes made to the page after it’s been rendered. In other words, the styles are applied to pieces of a document based on something in addition to the structure of the document, and in a way that cannot be precisely deduced simply by studying the document’s markup.
It may sound like we’re applying styles at random, but not so. Instead, we’re applying styles based on somewhat ephemeral conditions that can’t be predicted in advance. Nevertheless, the circumstances under which the styles will appear are, in fact, well-defined. Think of it this way: during a sporting event, whenever the home team scores, the crowd will cheer. You don’t know exactly when during a game the team will score, but when it does, the crowd will cheer, just as predicted. The fact that you can’t predict the exact moment of the cheer doesn’t make it any less expected.
Consider the anchor element (a), which (in HTML and related languages) establishes a link from one document to another. Anchors are always anchors, but some anchors refer to pages that have already been visited, while others refer to pages that have yet to be visited. You can’t tell the difference by simply looking at the HTML markup, because in the markup, all anchors look the same. The only way to tell which links have been visited is by comparing the links in a document to the user’s browser history. So there are actually two basic types of links: visited and unvisited.
CSS2.1 defines two pseudo-classes that apply only to hyperlinks. In HTML, these are any a elements with an href attribute; in XML languages, they’re any elements that act as links to another resource. Table 2-2 describes the pseudo-classes you can apply to them.
| Name | Description |
|---|---|
|
Refers to any anchor that is a hyperlink (i.e., has an |
|
Refers to any anchor that is a hyperlink to an already visited address. For security reasons, the styles that can be applied to visited links are severely limited; see sidebar “Visited Links and Privacy” for details. |
The first of the pseudo-classes in Table 2-2 may seem a bit redundant. After all, if an anchor hasn’t been visited, then it must be unvisited, right? If that’s the case, all we should need is the following:
a{color:blue;}a:visited{color:red;}
Although this format seems reasonable, it’s actually not quite enough. The first of the rules shown here applies not only to unvisited links, but also to placeholder links such as this one:
<a>4. The Lives of Meerkats</a>
The resulting text would be blue because the a element will match the rule a {color: blue;}. Therefore, to avoid applying your link styles to placeholders, use the :link and :visited pseudo-classes:
a:link{color:blue;}/* unvisited links are blue */a:visited{color:red;}/* visited links are red */
This is a good place to revisit attribute and class selectors and show how they can be combined with pseudo-classes. For example, let’s say you want to change the color of links that point outside your own site. In most circumstances we can use the starts-with attribute selector. However, some CMS’s set all links to be absolute URLs, in which case you could assign a class to each of these anchors. It’s easy:
<ahref="/about.html">My About page</a><ahref="https://www.site.net/"class="external">An external site</a>
To apply different styles to the external link, all you need is a rule like this:
a.external:link,a[href^="http"]:link{color:slateblue;}a.external:visited,a[href^="http"]:visited{color:maroon;}
This rule will make the second anchor in the preceding markup slateblue by default, and maroon once visited, while the first anchor will remain the default color for hyperlinks (usually blue when not visited and purple once visited). For improved usability and accessibility, visited links should be easily differentiable from non-visited links.
Styled visited links enable visitors to know where they have been and what they have yet to visit. This is especially important on large websites where it may be difficult to remember, especially for those with cognitive disabilities, which pages have been visited. Not only is highlighting visited links one of the W3C Web Content Accessibility Guidelines, but it makes searching for content faster, more efficient, and less stressful for everyone.
The same general syntax is used for ID selectors as well:
a#footer-copyright:link{background:yellow;}a#footer-copyright:visited{background:gray;}
You can chain the two link-state pseudo-classes together, but there’s no reason why you ever would: a link cannot be both visited and unvisited at the same time!
CSS defines a few pseudo-classes that can change a document’s appearance based on actions taken by the user. These dynamic pseudo-classes have traditionally been used to style hyperlinks, but the possibilities are much wider. Table 2-3 describes these pseudo-classes.
| Name | Description |
|---|---|
|
Refers to any element that currently has the input focus—i.e., can accept keyboard input or be activated in some way. |
|
Refers to any element over which the mouse pointer is placed—e.g., a hyperlink over which the mouse pointer is hovering. |
|
Refers to any element that has been activated by user input—e.g., a hyperlink on which a user clicks during the time the mouse button is held down. |
Elements that can become :active include links, buttons, menu items, and any element with a tabindex value. These elements and all other interactive elements, including form controls and elements that are content-editable, can also receive focus.
As with :link and :visited, these pseudo-classes are most familiar in the context of hyperlinks. Many web pages have styles that look like this:
a:link{color:navy;}a:visited{color:gray;}a:focus{color:orange;}a:hover{color:red;}a:active{color:yellow;}
The order of the pseudo-classes is more important than it might seem at first. The usual recommendation is “link-visited-hover-active,” although this has been modified to “link-visited-focus-hover-active.” The next chapter explains why this particular ordering is important and discusses several reasons you might choose to change or even ignore the recommended ordering.
Notice that the dynamic pseudo-classes can be applied to any element, which is good since it’s often useful to apply dynamic styles to elements that aren’t links. For example, using this markup:
input:focus{background:silver;font-weight:bold;}
you could highlight a form element that is ready to accept keyboard input, as shown in Figure 2-36.
You can also perform some rather odd feats by applying dynamic pseudo-classes to arbitrary elements. You might decide to give users a “highlight” effect by way of the following:
body*:hover{background:yellow;}
This rule will cause any element that’s descended from the body element to display a yellow background when it’s in a hover state. Headings, paragraphs, lists, tables, images, and anything else found inside the body will be changed to have a yellow background. You could also change the font, put a border around the element being hovered, or alter anything else the browser will allow.
Dynamic pseudo-classes present some interesting issues and peculiarities. For example, it’s possible to set visited and unvisited links to one font size and make hovered links a larger size, as shown in Figure 2-37:
a:link,a:visited{font-size:13px;}a:hover,a:active{font-size:20px;}
As you can see, the user agent increases the size of the anchor while the mouse pointer hovers over it; or, thanks to the :active setting, when a user touches it on a touch screen. A user agent that supports this behavior must redraw the document while an anchor is in hover state, which could force a reflow of all the content that follows the link.
Closely related to the dynamic pseudo-classes are the user-interface (UI) state pseudo-classes, which are summarized in Table 2-4. These pseudo-classes allow for styling based on the current state of user-interface elements like checkboxes.
| Name | Description |
|---|---|
|
Refers to user-interface elements (such as form elements) that are enabled; that is, available for input. |
|
Refers to user-interface elements (such as form elements) that are disabled; that is, not available for input. |
|
Refers to radio buttons or checkboxes that have been selected, either by the user or by defaults within the document itself. |
|
Refers to radio buttons or checkboxes that are neither checked nor unchecked; this state can only be set via DOM scripting, and not due to user input. |
|
Refers to the radio button, checkbox, or option that was selected by default. |
|
Refers to a user input that meets all of its data validity semantics |
|
Refers to a user input that does not meet all of its data validity semantics |
|
Refers to a user input whose value is between the minimum and maximum values |
|
Refers to a user input whose value is below the minimum or above the maximum values allowed by the control |
|
Refers to a user input that must have a value set |
|
Refers to a user input that does not need to have a value set |
|
Refers to a user input that is editable by the user |
|
Refers to a user input that is not editable by the user |
Although the state of a UI element can certainly be changed by user action—for example, a user checking or unchecking a checkbox—UI-state pseudo-classes are not classified as purely dynamic because they can also be affected by the document structure or DOM scripting.
You might think that :focus belongs in this section, not the previous section. However, the Selectors Level 3 specification groups :focus in with :hover and :active. This is most likely because they were grouped together in CSS2, which had no UI-state pseudo-classes. More importantly, though, focus can be given to non-UI elements, such as headings or paragraphs—one example is when they are read by a speaking browser. That alone keeps it from being considered a UI-state pseudo-class.
Thanks to both DOM scripting and HTML5, it is possible to mark a user-interface element (or group of user interface elements) as being disabled. A disabled element is displayed, but cannot be selected, activated, or otherwise interacted with by the user. Authors can set an element to be disabled either through DOM scripting, or (in HTML5) by adding a disabled attribute to the element’s markup.
Any element that hasn’t been disabled is by definition enabled. You can style these two states using the :enabled and :disabled pseudo-classes. It’s much more common to style disabled elements and leave enabled elements alone, but both have their uses, as illustrated in Figure 2-38:
:enabled{font-weight:bold;}:disabled{opacity:0.5;}
In addition to being enabled or disabled, certain UI elements can be checked or unchecked—in HTML, the input types “checkbox” and “radio” fit this definition. Selectors level 3 offers a :checked pseudo-class to handle elements in that state, though curiously it omits an :unchecked. There is also the :indeterminate pseudo-class, which matches any checkable UI element that is neither checked nor unchecked. These states are illustrated in Figure 2-39:
:checked{background:silver;}:indeterminate{border:red;}
In addition, you can use the negation pseudo-class, which is covered later, to select checkboxes which are not checked with input[type="checkbox"]:not(:checked). Only radio buttons and checkboxes can be checked. All other elements, and these two when not checked, are :not(:checked).
Although checkable elements are unchecked by default, it’s possible for a HTML author to toggle them on by adding the checked attribute to an element’s markup. An author can also use DOM scripting to flip an element’s checked state to checked or unchecked, whichever they prefer.
There is a third state, “indeterminate.” As of late 2017, this state can only be set through DOM scripting or by the user agent itself; there is no markup-level method to set elements to an indeterminate state. The purpose of allowing an indeterminate state is to visually indicate that the element needs to be checked (or unchecked) by the user. However, note that this is purely a visual effect: it does not affect the underlying state of the UI element, which is either checked or unchecked, depending on document markup and the effects of any DOM scripting.
Although the previous examples show styled radio buttons, remember that direct styling of radio buttons and checkboxes with CSS is actually very limited. However, that shouldn’t limit your use of the selected-option pseudo-classes. As an example, you can style the labels associated with your checkboxes and radio buttons using a combination of :checked and the adjacent sibling combinator:
input[type="checkbox"]:checked+label{color:red;font-style:italic;}
<inputid="chbx"type="checkbox"><labelfor="chbx">I am a label</label>
The :default pseudo-class matches the UI elements that are the default among a set of similar elements. This typically applies to context menu items, buttons, and select lists/menus. If there are several same-named radio buttons, the one that was originally checked matches :default, even if the UI has been updated by the user so that it no longer matches :checked. If a checkbox was checked on page load, :default matches it. Any initially-selected option(s) in a select element will match. The :default pseudo-class can also match buttons and menu items:
[type="checkbox"]:default+label{font-style:italic;}
<inputtype="checkbox"id="chbx"checkedname="foo"value="bar"><labelfor="chbx">This was checked on page load</label>
The pseudo-class :required matches any form control that is required, as denoted by the presence of the required attribute (in HTML5). The :optional pseudo-class matches form controls that do not have the required attribute, or whose required attribute has a value of false.
A form element is :required or :optional if a value for it is, respectively, required or optional before the form to which it belongs can be validly submitted. For example:
input:required{border:1pxsolid#f00;}input:optional{border:1pxsolid#ccc;}
<inputtype="email"placeholder="enter an email address"required><inputtype="email"placeholder="optional email address"><inputtype="email"placeholder="optional email address"required="false">
The first email input will match the :required pseudo-class because of the presence of the required attribute. The second input is optional, and therefore will match the :optional pseudo-class. The same is true for the third input, which has a required attribute, but the value is false.
We could also use attribute selectors instead. The following selectors are equivalent to the preceding ones:
input[required]{border:1pxsolid#f00;}input:not([required]){border:1pxsolid#ccc;}
Elements that are not form-input elements can be neither required nor optional.
The :valid pseudo-class refers to a user input that meets all of its data validity requirements. The :invalid pseudo-class, on the other hand, refers to a user input that does not meet all of its data validity requirements.
The validity pseudo-classes :valid and :invalid only apply to elements having the capacity for data validity requirements: a div will never match either selector, but an input could match either, depending on the current state of the interface.
Here’s an example where an image is dropped into the background of any email input which has focus, with one image being used when the input is invalid and another used when the input is valid, as illustrated in Figure 2-40:
input[type="email"]:focus{background-position:100%50%;background-repeat:no-repeat;}input[type="email"]:focus:invalid{background-image:url(warning.jpg);}input[type="email"]:focus:valid{background-image:url(checkmark.jpg);}
<inputtype="email">
These pseudo-class states are dependent on what the user agent reports to its own style system, and so may not act as you might expect. For example, in late 2017, an empty email input matched :valid in multiple user agents, despite the fact a null input is not a valid email address. Until these validation routines improve, it is best to treat the validity pseudo-classes with caution.
The range pseudo-classes include :in-range, which refers to a user input whose value is between the minimum and maximum values set by HTML5’s min and max attributes, and :out-of-range, which refers to a user input whose value is below the minimum or above the maximum values allowed by the control.
For example, consider a number input that accepts numbers in the range 0 to 1,000:
input[type="number"]:focus{background-position:100%50%;background-repeat:no-repeat;}input[type="number"]:focus:out-of-range{background-image:url(warning.jpg);}input[type="number"]:focus:in-range{background-image:url(checkmark.jpg);}
<inputid="nickels"type="number"min="0"max="1000"/>
The :in-range and :out-of-range pseudo-classes apply only to elements with range limitations. Elements that don’t have range limitations, like links for inputs of type tel, will not be matched by either pseudo-class.
There is also a step attribute in HTML5. If a value is invalid because it does not match the step value, but is still between or equal to the min and max values, it will match :invalid while also still matching :in-range. That is to say, a value can be in-range while also being invalid.
Thus, in the following scenario, the input’s value will be both red and boldfaced, because 23 is in range but is not evenly divisible by 10:
input[type="number"]:invalid{color:red;}input[type="number"]:in-range{font-weight:bold;}
<inputid="by-tens"type="number"min="0"max="1000"step="10"value="23"/>
The mutability pseudo-classes include :read-write, which refers to a user input that is editable by the user; and :read-only, which matches user inputs that are not editable. Only elements that have the capacity to be altered by user input can match :read-write.
For example, in HTML, a non-disabled, non-read-only input element is :read-write, as is any element with the contenteditable attribute. Everything else matches :read-only:
By default, neither of the following rules would ever match: textarea elements are read-write, and pre elements are read-only.
textarea:read-only{opacity:0.75;}pre:read-write:hover{border:1pxdashedgreen;}
However, each can be made to match as follows:
<textareadisabled></textarea><precontenteditable>Type your own code!</pre>
Because the textarea is given a disabled attribute, it becomes read-only, and so will have the first rule apply. Similarly, the pre here has been given the attribute contenteditable, so now it is a read-write element. This will be matched by the second rule.
When a URL includes a fragment identifier, the piece of the document at which it points is called (in CSS) the target. Thus, you can uniquely style any element that is the target of a URL fragment identifier with the :target pseudo-class.
Even if you’re unfamiliar with the term “fragment identifier,” you’ve probably seen them in action. Consider this URL:
http://www.w3.org/TR/css3-selectors/#target-pseudo
The target-pseudo portion of the URL is the fragment identifier, which is marked by the # symbol. If the referenced page (http://www.w3.org/TR/css3-selectors/) has an element with an ID of target-pseudo, then that element becomes the target of the fragment identifier.
Thanks to :target, you can highlight any targeted element within a document, or you can devise different styles for various types of elements that might be targeted—say, one style for targeted headings, another for targeted tables, and so on. Figure 2-41 shows an example of :target in action:
*:target{border-left:5pxsolidgray;background:yellowurl(target.png)toprightno-repeat;}
:target styles will not be applied in two circumstances:
If the page is accessed via a URL that does not have a fragment identifier
If the page is accessed via a URL that has a fragment identifier, but the identifier does not match any elements within the document
More interestingly, though, what happens if multiple elements within a document can be matched by the fragment identifier—for example, if the author erroneously included three separate instances of <div
id="target-pseudo"> in the same document?
The short answer is that CSS doesn’t have or need rules to cover this case, because all CSS is concerned with is styling targets. Whether the browser picks just one of the three elements to be the target or designates all three as co-equal targets, :target styles should be applied to anything that is a valid target.
For situations where you want to select an element based on its language, you can use the :lang() pseudo-class. In terms of its matching patterns, the :lang() pseudo-class is similar to the |= attribute selector. For example, to italicize elements whose content is written in French, you could write either of the following:
*:lang(fr){font-style:italic;}*[lang|="fr"]{font-style:italic;}
The primary difference between the pseudo-class selector and the attribute selector is that language information can be derived from a number of sources, some of which are outside the element itself. For the attribute selector, the element must have the attribute present to match. The :lang pseudo-class, on the other hand, matches descendants of an element with the language declaration. As Selectors Level 3 states:
In HTML, the language is determined by a combination of the
langattribute, and possibly information from themetaelements and the protocol (such as HTTP headers). XML uses an attribute calledxml:lang, and there may be other document language-specific methods for determining the language.
The pseudo-class will operate on all of that information, whereas the attribute selector can only work if there is a lang attribute present in the element’s markup. Therefore, the pseudo-class is more robust than the attribute selector and is probably a better choice in most cases where language-specific styling is needed.
Every selector we’ve covered thus far has had one thing in common: they’re all positive selectors. In other words, they are used to identify the things that should be selected, thus excluding by implication all the things that don’t match and are thus not selected.
For those times when you want to invert this formulation and select elements based on what they are not, Selectors Level 3 introduced the negation pseudo-class, :not(). It’s not quite like any other selector, fittingly enough, and it does have some restrictions on its use, but let’s start with an example.
Let’s suppose you want to apply a style to every list item that doesn’t have a class of moreinfo, as illustrated in Figure 2-42. That used to be very difficult, and in certain cases impossible, to make happen. If we wanted all the list items to be italic except those with the class .moreinfo, we used to declare all the links as italic, generally having to target the ul with a class, then normalize back based on the class, making sure the override came last in the source order, and had equal or higher specificity. Now we can declare:
li:not(.moreinfo){font-style:italic;}
The way :not() works is that you attach it to an element, and then in the parentheses you fill in a simple selector. A simple selector, according to the W3C, is:
either a type selector, universal selector, attribute selector, class selector, ID selector, or pseudo-class.
Basically, a simple selector is a selector with no ancestral-descendant relationship.
Note the “either” there: you can only use one of those inside :not(). You can’t group them and you can’t combine them using combinators, which means you can’t use a descendant selector, because the space separating elements in a descendant selector is a combinator. Those restrictions may (indeed most likely will) be lifted in the future, but we can still do quite a lot even within the given constraints.
For example, let’s flip around the previous example and select all elements with a class of moreinfo that are not list items. This is illustrated in Figure 2-43:
.moreinfo:not(li){font-style:italic;}
Translated into English, the selector would say, “Select all elements with a class whose value contains the word moreinfo as long as they are not li elements.” Similarly, the translation of li:not(.moreinfo) would be “Select all li elements as long as they do not have a class whose value contains the word moreinfo.”
Technically, you can put a universal selector into the parentheses, but there’s very little point. After all, p:not(*) would mean “Select any p element as long as it isn’t any element,” and there’s no such thing as an element that is not an element. Very similar to that would be p:not(p), which would also select nothing. It’s also possible to write things like p:not(div), which will select any p element that is not a div element—in other words, all of them. Again, there is very little reason to do so.
You can also use the negation pseudo-class at any point in a more complex selector. Thus, to select all tables that are not children of a section element, you would write *:not(section) > table. Similarly, to select table header cells that are not part of the table header, you’d write something like table *:not(thead)
> tr > th, with a result like that shown in Figure 2-44.
What you cannot do is nest negation pseudo-classes; thus, p:not(:not(p)) is invalid and will be ignored. It’s also, logically, the equivalent of just writing p, so there’s no point anyway. Furthermore, you cannot reference pseudo-elements (which we’ll cover shortly) inside the parentheses, since they are not simple selectors.
On the other hand, it’s possible to chain negations together to create a sort of “and also not this” effect. For example, you might want to select all elements with a class of link that are neither list items nor paragraphs:
*.link:not(li):not(p){font-style:italic;}
That translates to “Select all elements with a class whose value contains the word link as long as they are neither li nor p elements.”
One thing to watch out for is that you can have situations where rules combine in unexpected ways, mostly because we’re not used to thinking of selection in the negative. Consider this test case:
div:not(.one)p{font-weight:normal;}div.onep{font-weight:bold;}
<divclass="one"><divclass="two"><p>I'm a paragraph!</p></div></div>
The paragraph will be boldfaced, not normal-weight. This is because both rules match: the p element is descended from a div whose class does not contain the word one (<div class="two">), but it is also descended from a div whose class contains the word one. Both rules match, and so both apply. Since there is a conflict, the cascade is used to resolve the conflict, and the second rule wins. The structural arrangement of the markup, with the div.two being “closer” to the paragraph than div.one, is irrelevant.
Much as pseudo-classes assign phantom classes to anchors, pseudo-elements insert fictional elements into a document in order to achieve certain effects. Four basic pseudo-elements were defined in CSS 2, and they let you style the first letter of an element, style the first line of an element, and both create and style “before” and “after” content. There are other pseudo-classes that have been defined since CSS 2 (e.g., ::marker), and we’ll explore those in the chapters of the book for which they’re relevant. The four from CSS2 will be covered here because they’re old-school, and because they make a convenient way to talk about pseudo-element behavior.
Unlike the single colon of pseudo-classes, pseudo-elements employ a double-colon syntax, like ::first-line. This is meant to distinguish pseudo-elements from pseudo-classes. This was not always the case—in CSS2, both selector types used a single colon—so for backward compatibility, browsers will accept single-colon pseudo-element selectors. Don’t take this as an excuse to be sloppy, though! Use the proper number of colons at all times in order to future-proof your CSS; after all, there is no way to predict when browsers will stop accepting single-colon pseudo-element selectors.
Note that all pseudo-elements must be placed at the very end of the selector in which they appear. It would not be legal to write p::first-line em since the pseudo-element comes before the subject of the selector (the subject is the last element listed). This also means that only one pseudo-element is permitted in a given selector, though that restriction may be eased in future versions of CSS.
The ::first-letter pseudo-element styles the first letter, or a leading punctuation character and the first letter (if the text starts with punctuation), of any non-inline element. This rule causes the first letter of every paragraph to be colored red:
p::first-letter{color:red;}
The ::first-letter pseudo-element is most commonly used to create an “initial cap” or “drop cap” typographic effect. You could make the first letter of each p twice as big as the rest of the heading, though you may want to only apply this styling to the first letter of the first paragraph:
p:first-of-type::first-letter{font-size:200%;}
The result of this rule is illustrated in Figure 2-45.
This rule effectively causes the user agent to style a fictional, or “faux” element, that encloses the first letter of each p. It would look something like this:
<p><p-first-letter>T</p-first-letter>his is a p element, with a styled first letter</h2>
The ::first-letter styles are applied only to the contents of the fictional element shown in the example. This <p-first-letter> element does not appear in the document source, nor even in the DOM tree. Instead, its existence is constructed on the fly by the user agent and is used to apply the ::first-letter style(s) to the appropriate bit of text. In other words, <p-first-letter> is a pseudo-element. Remember, you don’t have to add any new tags. The user agent styles the first letter for you as if you had encased it in a styled element.
The first letter is defined as the first typographic letter unit of the originating element, if it is not preceded by other content, like an image. The specifications use “letter unit” because some languages have letters made up of more than character, like “oe” in Norse. Punctuation that precedes or follows the first letter unit, even if there are several such symbols, are included in the ::first-letter pseudo-element.
Similarly, ::first-line can be used to affect the first line of text in an element. For example, you could make the first line of each paragraph in a document large and purple:
p::first-line{font-size:150%;color:purple;}
In Figure 2-46, the style is applied to the first displayed line of text in each paragraph. This is true no matter how wide or narrow the display region is. If the first line contains only the first five words of the paragraph, then only those five words will be big and purple. If the first line contains the first 30 words of the element, then all 30 will be big and purple.
Because the text from “This” to “only” should be big and purple, the user agent employs a fictional markup that looks something like this:
<p><p-first-line>This is a paragraph of text that has only</p-first-line>one stylesheet applied to it. That style causes the first line to be big and purple. No other line will have those styles applied.</p>
If the first line of text were edited to include only the first seven words of the paragraph, then the fictional </p-first-line> would move back and occur just after the word “that.” If the user were to increase or decrease the font-size rendering, or expand or contract the browser window causing the width of the text to change, thereby causing the number of words on the first line to increase or decrease, the browser automatically sets only the words in the currently displayed first line to be both big and purple.
The length of the first line depends on a number of factors, including the font-size, letter spacing, width of the parent container, etc. Depending on the markup, and the length of that first line, it is possible that the end of the first line comes in the middle of a nested element. If the ::first-line breaks up a nested element, such as an em or a hyperlink, the properties attached to the ::first-line will only apply to the portion of that nested element that is displayed on the first line.
The ::first-letter and ::first-line pseudo-elements currently can be applied only to block-display elements such as headings or paragraphs, and not to inline-display elements such as hyperlinks. There are also limits on the CSS properties that may be applied to ::first-line and ::first-letter. Table 2-5 gives an idea of these limitations.
| ::first-letter | ::first-line |
|---|---|
|
|
Let’s say you want to preface every h2 element with a pair of silver square brackets as a typographical effect:
h2::before{content:"]]";color:silver;}
CSS lets you insert generated content, and then style it directly using the pseudo-elements ::before and ::after. Figure 2-47 illustrates an example.
The pseudo-element is used to insert the generated content and to style it. To place content after an element, use the pseudo-element ::after. You could end your documents with an appropriate finish:
body::after{content:"The End.";}
Generated content is a separate subject, and the entire topic (including more detail on ::before and ::after) is covered more thoroughly in Chapter 15.
By using selectors based on the document’s language, authors can create CSS rules that apply to a large number of similar elements just as easily as they can construct rules that apply in very narrow circumstances. The ability to group together both selectors and rules keeps stylesheets compact and flexible, which incidentally leads to smaller file sizes and faster download times.
Selectors are the one thing that user agents usually must get right because the inability to correctly interpret selectors pretty much prevents a user agent from using CSS at all. On the flip side, it’s crucial for authors to correctly write selectors because errors can prevent the user agent from applying the styles as intended. An integral part of correctly understanding selectors and how they can be combined is a strong grasp of how selectors relate to document structure and how mechanisms—such as inheritance and the cascade itself—come into play when determining how an element will be styled.
Chapter 2 showed how document structure and CSS selectors allow you to apply a wide variety of styles to elements. Knowing that every valid document generates a structural tree, you can create selectors that target elements based on their ancestors, attributes, sibling elements, and more. The structural tree is what allows selectors to function and is also central to a similarly crucial aspect of CSS: inheritance.
Inheritance is the mechanism by which some property values are passed on from an element to its descendants. When determining which values should apply to an element, a user agent must consider not only inheritance but also the specificity of the declarations, as well as the origin of the declarations themselves. This process of consideration is what’s known as the cascade. We will explore the interrelation between these three mechanisms—specificity, inheritance, and the cascade—in this chapter, but the difference between the latter two can be summed up this way: choosing the result of h1 {color: red; color: blue;} is the cascade; making a span inside the h1 blue is inheritance.
Above all, regardless of how abstract things may seem, keep going! Your perseverance will be rewarded.
You know from Chapter 2 that you can select elements using a wide variety of means. In fact, it’s possible that the same element could be selected by two or more rules, each with its own selector. Let’s consider the following three pairs of rules. Assume that each pair will match the same element:
h1{color:red;}bodyh1{color:green;}h2.grape{color:purple;}h2{color:silver;}html>bodytabletr[id="totals"]tdul>li{color:maroon;}li#answer{color:navy;}
Only one of the two rules in each pair can win out, since the matched elements can be only one color or the other. How do we know which one will win?
The answer is found in the specificity of each selector. For every rule, the user agent evaluates the specificity of the selector and attaches it to each declaration in the rule. When an element has two or more conflicting property declarations, the one with the highest specificity will win out.
This isn’t the whole story in terms of conflict resolution. All style conflict resolution (including specificity) is handled by the cascade, which has its own section later in this chapter (“The Cascade”).
A selector’s specificity is determined by the components of the selector itself. A specificity value can be expressed in four parts, like this: 0,0,0,0. The actual specificity of a selector is determined as follows:
For every ID attribute value given in the selector, add 0,1,0,0.
For every class attribute value, attribute selection, or pseudo-class given in the selector, add 0,0,1,0.
For every element and pseudo-element given in the selector, add 0,0,0,1. CSS2 contradicted itself as to whether pseudo-elements had any specificity at all, but CSS2.1 made it clear that they do, and this is where they belong.
Combinators and the universal selector do not contribute anything to the specificity.
For example, the following rules’ selectors result in the indicated specificities:
h1{color:red;}/* specificity = 0,0,0,1 */pem{color:purple;}/* specificity = 0,0,0,2 */.grape{color:purple;}/* specificity = 0,0,1,0 */*.bright{color:yellow;}/* specificity = 0,0,1,0 */p.brightem.dark{color:maroon;}/* specificity = 0,0,2,2 */#id216{color:blue;}/* specificity = 0,1,0,0 */div#sidebar*[href]{color:silver;}/* specificity = 0,1,1,1 */
Given a case where an em element is matched by both the second and fifth rules in this example, that element will be maroon because the fifth rule’s specificity outweighs the second’s.
As an exercise, let’s return to the pairs of rules from earlier in the section and fill in the specificities:
h1{color:red;}/* 0,0,0,1 */bodyh1{color:green;}/* 0,0,0,2 (winner)*/h2.grape{color:purple;}/* 0,0,1,1 (winner) */h2{color:silver;}/* 0,0,0,1 */html>bodytabletr[id="totals"]tdul>li{color:maroon;}/* 0,0,1,7 */li#answer{color:navy;}/* 0,1,0,1(winner) */
I’ve indicated the winning rule in each pair; in each case, it’s because the specificity is higher. Notice how they’re sorted. In the second pair, the selector h2.grape wins because it has an extra 1: 0,0,1,1 beats out 0,0,0,1. In the third pair, the second rule wins because 0,1,0,1 wins out over 0,0,1,7. In fact, the specificity value 0,0,1,0 will win out over the value 0,0,0,13.
This happens because the values are sorted from left to right. A specificity of 1,0,0,0 will win out over any specificity that begins with a 0, no matter what the rest of the numbers might be. So 0,1,0,1 wins over 0,0,1,7 because the 1 in the first value’s second position beats out the 0 in the second value’s second position.
Once the specificity of a selector has been determined, the specificity value will be conferred on all of its associated declarations. Consider this rule:
h1{color:silver;background:black;}
For specificity purposes, the user agent must treat the rule as if it were “ungrouped” into separate rules. Thus, the previous example would become:
h1{color:silver;}h1{background:black;}
Both have a specificity of 0,0,0,1, and that’s the value conferred on each declaration. The same splitting-up process happens with a grouped selector as well. Given the rule:
h1,h2.section{color:silver;background:black;}
the user agent treats it if it were the following:
h1{color:silver;}/* 0,0,0,1 */h1{background:black;}/* 0,0,0,1 */h2.section{color:silver;}/* 0,0,1,1 */h2.section{background:black;}/* 0,0,1,1 */
This becomes important in situations where multiple rules match the same element and some of the declarations clash. For example, consider these rules:
h1+p{color:black;font-style:italic;}/* 0,0,0,2 */p{color:gray;background:white;font-style:normal;}/* 0,0,0,1 */*.aside{color:black;background:silver;}/* 0,0,1,0 */
When applied to the following markup, the content will be rendered as shown in Figure 3-1:
<h1>Greetings!</h1><pclass="aside">It's a fine way to start a day, don't you think?</p><p>There are many ways to greet a person, but the words are not as important as the act of greeting itself.</p><h1>Salutations!</h1><p>There is nothing finer than a hearty welcome from one's fellow man.</p><pclass="aside">Although a thick and juicy hamburger with bacon and mushrooms runs a close second.</p>
In every case, the user agent determines which rules match a given element, calculates all of the associated declarations and their specificities, determines which rules win out, and then applies the winners to the element to get the styled result. These machinations must be performed on every element, selector, and declaration. Fortunately, the user agent does it all automatically. This behavior is an important component of the cascade, which we will discuss later in this chapter.
The universal selector does not contribute to specificity. In other words, it has a specificity of 0,0,0,0, which is different than having no specificity (as we’ll discuss in “Inheritance”). Therefore, given the following two rules, a paragraph descended from a div will be black, but all other elements will be gray:
divp{color:black;}/* 0,0,0,2 */*{color:gray;}/* 0,0,0,0 */
As you might expect, this means the specificity of a selector that contains a universal selector along with other selectors is not changed by the presence of the universal selector. The following two selectors have exactly the same specificity:
divp/* 0,0,0,2 */body*strong/* 0,0,0,2 */
Combinators, by comparison, have no specificity at all—not even zero specificity. Thus, they have no impact on a selector’s overall specificity.
It’s important to note the difference in specificity between an ID selector and an attribute selector that targets an id attribute. Returning to the third pair of rules in the example code, we find:
html>bodytabletr[id="totals"]tdul>li{color:maroon;}/* 0,0,1,7 */li#answer{color:navy;}/* 0,1,0,1 (wins) */
The ID selector (#answer) in the second rule contributes 0,1,0,0 to the overall specificity of the selector. In the first rule, however, the attribute selector ([id="totals"]) contributes 0,0,1,0 to the overall specificity. Thus, given the following rules, the element with an id of meadow will be green:
#meadow{color:green;}/* 0,1,0,0 */*[id="meadow"]{color:red;}/* 0,0,1,0 */
So far, we’ve only seen specificities that begin with a zero, so you may be wondering why it’s there at all. As it happens, that first zero is reserved for inline style declarations, which trump any other declaration’s specificity. Consider the following rule and markup fragment:
h1{color:red;}
<h1style="color: green;">The Meadow Party</h1>
Given that the rule is applied to the h1 element, you would still probably expect the text of the h1 to be green. This happens because every inline declaration has a specificity of 1,0,0,0.
This means that even elements with id attributes that match a rule will obey the inline style declaration. Let’s modify the previous example to include an id:
h1#meadow{color:red;}
<h1id="meadow"style="color: green;">The Meadow Party</h1>
Thanks to the inline declaration’s specificity, the text of the h1 element will still be green.
Sometimes, a declaration is so important that it outweighs all other considerations. CSS calls these important declarations (for hopefully obvious reasons) and lets you mark them by inserting !important just before the terminating semicolon in a declaration:
p.dark{color:#333!important;background:white;}
Here, the color value of #333 is marked !important, whereas the background value of white is not. If you wish to mark both declarations as important, each declaration needs its own !important marker:
p.dark{color:#333!important;background:white!important;}
You must place !important correctly, or the declaration may be invalidated. !important always goes at the end of the declaration, just before the semicolon. This placement is especially important—no pun intended—when it comes to properties that allow values containing multiple keywords, such as font:
p.light{color:yellow;font:smallerTimes,serif!important;}
If !important were placed anywhere else in the font declaration, the entire declaration would likely be invalidated and none of its styles applied.
I realize that to those of you who come from a programming background, the syntax of this token instinctively translates to “not important.” For whatever reason, the bang (!) was chosen as the delimiter for important tokens, and it does not mean “not” in CSS, no matter how many other languages give it that very meaning. This association is unfortunate, but we’re stuck with it.
Declarations that are marked !important do not have a special specificity value, but are instead considered separately from non-important declarations. In effect, all !important declarations are grouped together, and specificity conflicts are resolved relatively within that group. Similarly, all non-important declarations are considered together, with any conflicts within the non-important group are resolved using specificity. Thus, in any case where an important and a non-important declaration conflict, the important declaration always wins.
Figure 3-2 illustrates the result of the following rules and markup fragment:
h1{font-style:italic;color:gray!important;}.title{color:black;background:silver;}*{background:black!important;}
<h1class="title">NightWing</h1>
Important declarations and their handling are discussed in more detail in “The Cascade”.
As important as specificity may be to understanding how declarations are applied to a document, another key concept is inheritance. Inheritance is the mechanism by which some styles are applied not only to a specified element, but also to its descendants. If a color is applied to an h1 element, for example, then that color is applied to all text inside the h1, even the text enclosed within child elements of that h1:
h1{color:gray;}
<h1>Meerkat<em>Central</em></h1>
Both the ordinary h1 text and the em text are colored gray because the em element inherits the value of color from the h1. If property values could not be inherited by descendant elements, the em text would be black, not gray, and we’d have to color the elements separately.
Consider an unordered list. Let’s say we apply a style of color: gray; for ul elements:
ul{color:gray;}
We expect that style applied to a ul will also be applied to its list items, and also to any content of those list items. Thanks to inheritance, that’s exactly what happens, as Figure 3-3 demonstrates.
It’s easier to see how inheritance works by turning to a tree diagram of a document. Figure 3-4 shows the tree diagram for a very simple document containing two lists: one unordered and the other ordered.
When the declaration color: gray; is applied to the ul element, that element takes on that declaration. The value is then propagated down the tree to the descendant elements and continues on until there are no more descendants to inherit the value. Values are never propagated upward; that is, an element never passes values up to its ancestors.
There is an exception to the upward propagation rule in HTML: background styles applied to the body element can be passed to the html element, which is the document’s root element and therefore defines its canvas. This only happens if the body element has a defined background and the html element does not.
Inheritance is one of those things about CSS that is so basic that you almost never think about it unless you have to. However, you should still keep a couple of things in mind.
First, note that many properties are not inherited—generally in order to avoid undesirable outcomes. For example, the property border (which is used to set borders on elements) does not inherit. A quick glance at Figure 3-5 reveals why this is the case. If borders were inherited, documents would become much more cluttered—unless the author took the extra effort to turn off the inherited borders.
As it happens, most of the box-model properties—including margins, padding, backgrounds, and borders—are not inherited for the same reason. After all, you likely wouldn’t want all of the links in a paragraph to inherit a 30-pixel left margin from their parent element!
Second, inherited values have no specificity at all, not even zero specificity. This seems like an academic distinction until you work through the consequences of the lack of inherited specificity. Consider the following rules and markup fragment and compare them to the result shown in Figure 3-6:
*{color:gray;}h1#page-title{color:black;}
<h1id="page-title">Meerkat<em>Central</em></h1><p>Welcome to the best place on the web for meerkat information!</p>
Since the universal selector applies to all elements and has zero specificity, its color declaration’s value of gray wins out over the inherited value of black, which has no specificity at all. Therefore, the em element is rendered gray instead of black.
This example vividly illustrates one of the potential problems of using the universal selector indiscriminately. Because it can match any element, the universal selector often has the effect of short-circuiting inheritance. This can be worked around, but it’s usually more sensible to avoid the problem in the first place by not using the universal selector indiscriminately.
The complete lack of specificity for inherited values is not a trivial point. For example, assume that a style sheet has been written such that all text in a “toolbar” is to be white on black:
#toolbar{color:white;background:black;}
This will work so long as the element with an id of toolbar contains nothing but plain text. If, however, the text within this element is all hyperlinks (a elements), then the user agent’s styles for hyperlinks will take over. In a web browser, this means they’ll likely be colored blue, since the browser’s internal style sheet probably contains an entry like this:
a:link{color:blue;}
To overcome this problem, you must declare something like this:
#toolbar{color:white;background:black;}#toolbara:link{color:white;}
By targeting a rule directly at the a elements within the toolbar, you’ll get the result shown in Figure 3-7.
Another way to get the same result is to use the value inherit, covered in the next chapter. We can alter the previous example like so:
#toolbar{color:white;background:black;}#toolbara:link{color:inherit;}
This also leads to the result shown in Figure 3-7, because the value of color is explicitly inherited thanks to an assigned rule whose selector has specificity.
Throughout this chapter, we’ve skirted one rather important issue: what happens when two rules of equal specificity apply to the same element? How does the browser resolve the conflict? For example, consider the following rules:
h1{color:red;}h1{color:blue;}
Which one wins? Both have a specificity of 0,0,0,1, so they have equal weight and should both apply. That can’t be the case because the element can’t be both red and blue. So which will it be?
At last, the name “Cascading Style Sheets” makes sense: CSS is based on a method of causing styles to cascade together, which is made possible by combining inheritance and specificity with a few rules. The cascade rules for CSS are:
Find all rules that contain a selector that matches a given element.
Sort all declarations applying to the given element by explicit weight. Those rules marked !important have a higher weight than those that are not.
Sort all declarations applying to the given element by origin. There are three basic origins: author, reader, and user agent. Under normal circumstances, the author’s styles win out over the reader’s styles. !important reader styles are stronger than any other styles, including !important author styles. Both author and reader styles override the user agent’s default styles.
Sort all declarations applying to the given element by specificity. Those elements with a higher specificity have more weight than those with lower specificity.
Sort all declarations applying to the given element by order. The later a declaration appears in the style sheet or document, the more weight it is given. Declarations that appear in an imported style sheet are considered to come before all declarations within the style sheet that imports them.
To be perfectly clear about how this all works, let’s consider some examples that illustrate the last four of the five cascade rules.
Some later CSS modules add more origins to the basic list of three; for example, the animation and transition origins. These are not covered here, but are addressed in the chapters on those topics.
If two rules apply to an element, and one is marked !important, the important rule wins out:
p{color:gray!important;}
<pstyle="color: black;">Well,<em>hello</em>there!</p>
Despite the fact that there is a color assigned in the style attribute of the paragraph, the !important rule wins out, and the paragraph is gray. This gray is inherited by the em element as well.
Note that if an !important is added to the inline style, then it will be the winner. Thus, given the following, the paragraph (and its descendant element) will be black:
p{color:gray!important;}
<pstyle="color: black !important;">Well,<em>hello</em>there!</p>
In situations where the explicit weight is the same, the origin of a rule is considered. If an element is matched by normal-weight styles in both the author’s style sheet and the reader’s style sheet, then the author’s styles are used. For example, assume that the following styles come from the indicated origins:
pem{color:black;}/* author's style sheet */pem{color:yellow;}/* reader's style sheet */
In this case, emphasized text within paragraphs is colored black, not yellow, because normal-weight author styles win out over normal-weight reader styles. However, if both rules are marked !important, the situation changes:
pem{color:black!important;}/* author's style sheet */pem{color:yellow!important;}/* reader's style sheet */
Now the emphasized text in paragraphs will be yellow, not black.
As it happens, the user agent’s default styles—which are often influenced by the user preferences—are figured into this step. The default style declarations are the least influential of all. Therefore, if an author-defined rule applies to anchors (e.g., declaring them to be white), then this rule overrides the user agent’s defaults.
To sum up, there are five basic levels to consider in terms of declaration weight. In order of most to least weight, these are:
Reader important declarations
Author important declarations
Author normal declarations
Reader normal declarations
User agent declarations
Authors typically need to worry about only the first four weight levels, since anything declared by an author will win out over the user agent’s styles.
If conflicting declarations apply to an element and they all have the same explicit weight and origin, they should be sorted by specificity, with the most specific declaration winning out, like this:
p#bright{color:silver;}p{color:black;}
<pid="bright">Well, hello there!</p>
Given the rules shown, the text of the paragraph will be silver, as illustrated in Figure 3-8. Why? Because the specificity of p#bright (0,1,0,1) overrode the specificity of p (0,0,0,1), even though the latter rule comes later in the style sheet.
Finally, if two rules have exactly the same explicit weight, origin, and specificity, then the one that occurs later in the style sheet wins out. Let’s return to our earlier example, where we find the following two rules in the document’s style sheet:
h1{color:red;}h1{color:blue;}
In this case, the value of color for all h1 elements in the document will be blue, not red. This is because the two rules are tied with each other in terms of explicit weight and origin, and the selectors have equal specificity, so the last one declared is the winner.
So what happens if rules from completely separate style sheets conflict? For example, suppose the following:
@importurl(basic.css);h1{color:blue;}
What if h1 {color: red;} appears in basic.css? The entire contents of basic.css are treated as if they were pasted into the style sheet at the point where the @import occurs. Thus, any rule contained in the document’s style sheet occurs later than those from the @import. If they tie in terms of explicit weight and specificity, the document’s style sheet contains the winner. Consider the following:
pem{color:purple;}/* from imported style sheet */pem{color:gray;}/* rule contained within the document */
In this case, the second rule shown wins out over the imported rule because it was the last one specified.
Order sorting is the reason behind the often-recommended ordering of link styles. The recommendation is that you array your link styles in the order link-visited-focus-hover-active, or LVFHA, like this:
a:link{color:blue;}a:visited{color:purple;}a:focus{color:green;}a:hover{color:red;}a:active{color:orange;}
Thanks to the information in this chapter, you now know that the specificity of all of these selectors is the same: 0,0,1,1. Because they all have the same explicit weight, origin, and specificity, the last one that matches an element will win out. An unvisited link that is being “clicked” or otherwise activated, such as via the keyboard, is matched by four of the rules—:link, focus, :hover, and :active—so the last one of those four will win out. Given the LVFHA ordering, :active will win, which is likely what the author intended.
Assume for a moment that you decide to ignore the common ordering and alphabetize your link styles instead. This would yield:
a:active{color:orange;}a:focus{color:green;}a:hover{color:red;}a:link{color:blue;}a:visited{color:purple;}
Given this ordering, no link would ever show :hover, :focus, or :active styles because the :link and :visited rules come after the other three. Every link must be either visited or unvisited, so those styles will always override the others.
Let’s consider a variation on the LVFHA order that an author might want to use. In this ordering, only unvisited links will get a hover style; visited links do not. Both visited and unvisited links will get an active style:
a:link{color:blue;}a:hover{color:red;}a:visited{color:purple;}a:focus{color:green;}a:active{color:orange;}
Such conflicts arise only when all the states attempt to set the same property. If each state’s styles address a different property, then the order does not matter. In the following case, the link styles could be given in any order and would still function as intended:
a:link{font-weight:bold;}a:visited{font-style:italic;}a:focus{color:green;}a:hover{color:red;}a:active{background:yellow;}
You may also have realized that the order of the :link and :visited styles doesn’t matter. You could order the styles LVFHA or VLFHA with no ill effect.
The ability to chain pseudo-classes together eliminates all these worries. The following could be listed in any order without any overrides:
a:link{color:blue;}a:visited{color:purple;}a:link:hover{color:red;}a:visited:hover{color:gray;}
Because each rule applies to a unique set of link states, they do not conflict. Therefore, changing their order will not change the styling of the document. The last two rules do have the same specificity, but that doesn’t matter. A hovered unvisited link will not be matched by the rule regarding hovered visited links, and vice versa. If we were to add active-state styles, then order would start to matter again. Consider:
a:link{color:blue;}a:visited{color:purple;}a:link:hover{color:red;}a:visited:hover{color:gray;}a:link:active{color:orange;}a:visited:active{color:silver;}
If the active styles were moved before the hover styles, they would be ignored. Again, this would happen due to specificity conflicts. The conflicts could be avoided by adding more pseudo-classes to the chains, like this:
a:link:hover:active{color:orange;}a:visited:hover:active{color:silver;}
This does have the effect of raising the specificity of the selectors—both have a specificity value of 0,0,3,1—but they don’t conflict because the actual selection states are mutually exclusive. A link can’t be an unvisited hovered active link and an unvisited hovered active link: only one of the two rules will match, and the styles applied accordingly.
It is possible that a document will contain presentational hints that are not CSS—for example, the font element. Such presentational hints are treated as if they have a specificity of 0 and appear at the beginning of the author’s stylesheet. Such presentation hints will be overridden by any author or reader styles, but not by the user agent’s styles. In CSS3, presentational hints from outside CSS are treated as if they belong to the user agent’s stylesheet, presumably at the end (although as of this writing, the specification doesn’t say).
Perhaps the most fundamental aspect of Cascading Style Sheets is the cascade itself—the process by which conflicting declarations are sorted out and from which the final document presentation is determined. Integral to this process is the specificity of selectors and their associated declarations, and the mechanism of inheritance.
In this chapter, we’ll tackle features that are the basis for almost everything you can do with CSS: the units that affect the colors, distances, and sizes of a whole host of properties, as well as the units that help to define those values. Without units, you couldn’t declare that an image should have 10 pixels of blank space around it, or that a heading’s text should be a certain size. By understanding the concepts put forth here, you’ll be able to learn and use the rest of CSS much more quickly.
Everything in a stylesheet is text, but there are certain value types that directly represent strings of text as opposed to, say, numbers or colors. Included in this category are URLs and, interestingly enough, images.
For those times when a value needs to be described with a word of some kind, there are keywords. A very common example is the keyword none, which is distinct from 0 (zero). Thus, to remove the underline from links in an HTML document, you would write:
a:link,a:visited{text-decoration:none;}
Similarly, if you want to force underlines on the links, then you would use the keyword underline.
If a property accepts keywords, then its keywords will be defined only for the scope of that property. If two properties use the same word as a keyword, the behavior of the keyword for one property will not necessarily be shared with the other. As an example, normal, as defined for letter-spacing, means something very different than the normal defined for font-style.
CSS3 defines three “global” keywords that are accepted by every property in the specification: inherit, initial, and unset.
The keyword inherit makes the value of a property on an element the same as the value of that property on its parent element. In other words, it forces inheritance to occur even in situations where it would not normally operate. In many cases, you don’t need to specify inheritance, since many properties inherit naturally. Nevertheless, inherit can still be very useful.
For example, consider the following styles and markup:
#toolbar {background: blue; color: white;}
<div id="toolbar">
<a href="one.html">One</a> | <a href="two.html">Two</a> |
<a href="three.html">Three</a>
</div>
The div itself will have a blue background and a white foreground, but the links will be styled according to the browser’s preference settings. They’ll most likely end up as blue text on a blue background, with white vertical bars between them.
You could write a rule that explicitly sets the links in the “toolbar” to be white, but you can make things a little more robust by using inherit. You just add the following rule to the stylesheet:
#toolbara{color:inherit;}
This will cause the links to use the inherited value of color in place of the user agent’s default styles. Ordinarily, directly assigned styles override inherited styles, but inherit can undo that behavior. It might not always be a good idea—for example, here links might blend into surrounding text too much, and become an accessibility concern—but it can be done.
Similarly, you can pull a property value down from a parent even if it wouldn’t happen normally. Take border, for example, which is (rightfully) not inherited. If you want a span to inherit the border of its parent, all you need is span {border: inherit;}. More likely, though, you just want the border on a span to use the same border color as its parent. In that case span {border-color: inherit;} will do the trick.
The keyword initial sets the value of a property to the defined initial value, which in a way means it “resets” the value. For example, the default value of font-weight is normal. Thus, declaring font-weight: initial is the same as declaring font-weight: normal.
This might seem a little bit silly until you consider that not all values have explicitly defined initial values. For example, the initial value for color is “depends on user agent.” That’s not a funky keyword you should type! What it means is that the default value of color depends on things like the preferences settings in a browser. While almost nobody changes the default text color setting from black, someone might set it to a dark gray or even a bright red. By declaring color: initial;, you’re telling the browser to set the color of the element to whatever the user’s default color is set to be.
The keyword unset acts as a universal stand-in for both inherit and initial. If the property is inherited, then unset has the same effect as if inherit was used. If the property is not inherited, then unset has the same effect as if initial was used.
As of late 2017, Opera Mini did not support any of initial, inherit, or unset. Internet Explorer did not support them through IE11.
These global values are usable on all properties, but there is a special property that only accepts the global keywords: all.
all is a stand-in for all properties except direction and unicode-bidi. Thus, if you declare all: inherit on an element, you’re saying that you want all properties except direction and unicode-bidi to inherit their values from the element’s parent. Consider the following:
section{color:white;background:black;font-weight:bold;}#example{all:inherit;}
<section><divid="example">This is a div.</div></section>
You might think this causes the div element to inherit the values of color, background, and font-weight from the section element. And it does do that, yes—but it will also force inheritance of the values of every single other property in CSS (minus the two exceptions) from the section element.
Maybe that’s what you want, in which case, great. But if you just want to inherit the property values you wrote out for the section element, then the CSS would need to look more like this:
section{color:white;background:black;font-weight:bold;}#example{color:inherit;background:inherit;font-weight:inherit;}
Odds are what you really want in these situations is all: unset, but your stylesheet may vary.
As of late 2017, a new global keyword, revert, was being considered for adoption. Its goal was to allow rollbacks of values to those set by other origins—for example, to let an author say, “All property values for this element should be as if the author styles don’t exist, but user agent and user styles do.” Since it was still under consideration, it has not been documented in detail here.
A string value is an arbitrary sequence of characters wrapped in either single or double quotes, and is represented in value definitions with <string>. Two simple examples:
"I like to play with strings." 'Strings are fun to play with.'
Note that the quotes balance, which is to say that you always start and end with the same kind of quotes. Getting this wrong can lead to all kinds of parsing problems, since starting with one kind of quote and trying to end with the other means the string won’t actually be terminated. You could accidentally incorporate subsequent rules into the string that way!
If you want to put quote marks inside strings, that’s OK, as long as they’re either not the kind you used to enclose the string or are escaped using a backslash:
"I've always liked to play with strings." 'He said to me, "I like to play with strings."' "It's been said that \"haste makes waste.\"" 'There\'s never been a "string theory" that I\'ve liked.'
Note that the only acceptable string delimiters are ' and ", sometimes called “straight quotes.” That means you can’t use “curly” or “smart” quotes to begin or end a string value. You can use them inside a string value, as in this code example, though, and they don’t have to be escaped:
"It’s been said that “haste makes waste.”" 'There’s never been a “string theory” that I’ve liked.'
This requires that you use Unicode encoding for your documents, but you should be doing that regardless. (You can find the Unicode standard at http://www.unicode.org/standard/standard.html.)
If you have some reason to include a newline in your string value, you can do that by escaping the newline itself. CSS will then remove it, making things as if it had never been there. Thus, the following two string values are identical from a CSS point of view:
"This is the right place \ for a newline." "This is the right place for a newline."
If, on the other hand, you actually want a string value that includes a newline character, then use the Unicode reference \A where you want the newline to occur:
"This is a better place \Afor a newline."
If you’ve written web pages, you’re almost certainly familiar with URLs (or, as in CSS2.1, URIs). Whenever you need to refer to one—as in the @import statement, which is used when importing an external stylesheet—the general format is:
url(protocol://server/pathname)
This example defines what is known as an absolute URL. By absolute, I mean a URL that will work no matter where (or rather, in what page) it’s found, because it defines an absolute location in web space. Let’s say that you have a server called web.waffles.org. On that server, there is a directory called pix, and in this directory is an image waffle22.gif. In this case, the absolute URL of that image would be:
web.waffles.org/pix/waffle22.gif
This URL is valid no matter where it is found, whether the page that contains it is located on the server web.waffles.org or web.pancakes.com.
The other type of URL is a relative URL, so named because it specifies a location that is relative to the document that uses it. If you’re referring to a relative location, such as a file in the same directory as your web page, then the general format is:
url(pathname)
This works only if the image is on the same server as the page that contains the URL. For argument’s sake, assume that you have a web page located at http://web.waffles.org/syrup.html and that you want the image waffle22.gif to appear on this page. In that case, the URL would be:
pix/waffle22.gif
This path works because the web browser knows that it should start with the place it found the web document and then add the relative URL. In this case, the pathname pix/waffle22.gif added to the server name http://web.waffles.org equals http://web.waffles.org/pix/waffle22.gif. You can almost always use an absolute URL in place of a relative URL; it doesn’t matter which you use, as long as it defines a valid location.
In CSS, relative URLs are relative to the stylesheet itself, not to the HTML document that uses the stylesheet. For example, you may have an external stylesheet that imports another stylesheet. If you use a relative URL to import the second stylesheet, it must be relative to the first stylesheet.
As an example, consider an HTML document at http://web.waffles.org/toppings/tips.html, which has a link to the stylesheet http://web.waffles.org/styles/basic.css:
<linkrel="stylesheet"type="text/css"href="http://web.waffles.org/styles/basic.css">
Inside the file basic.css is an @import statement referring to another stylesheet:
@import url(special/toppings.css);
This @import will cause the browser to look for the stylesheet at http://web.waffles.org/styles/special/toppings.css, not at http://web.waffles.org/toppings/special/toppings.css. If you have a stylesheet at the latter location, then the @import in basic.css should read one of the two following ways:
@import url(http://web.waffles.org/toppings/special/toppings.css);@import url(../special/toppings.css);
Note that there cannot be a space between the url and the opening parenthesis:
body{background:url(http://www.pix.web/picture1.jpg);}/* correct */body{background:url(images/picture2.jpg);}/* INCORRECT */
If the space is present, the entire declaration will be invalidated and thus ignored.
An image value is a reference to an image, as you might have guessed. Its syntax representation is <image>.
At the most basic level of support, which is to say the one every CSS engine on the planet would understand, an <image> value is a <url> value. In more advanced user agents, <image> stands for one of the following:
A URL identifier of an external resource; in this case, the URL of an image.
Perhaps unsurprisingly, a set of images, chosen based on a set of conditions embedded into the value. For example, an image-set() could specify that a larger image be used for desktop layouts, whereas a smaller image (both in pixel size and file size) be used for a mobile design. It is intended to at least approximate the behavior of the srcset attribute for picture elements. As of late 2016, browser support for image-set was limited to Safari, Chrome, and desktop Opera, and was not on par with srcset’s full range of capabilities.
Refers to either a linear or radial gradient image, either singly or in a repeating pattern. Gradients are fairly complex, and thus are covered in detail in Chapter 9.
There are a few properties that accept an identifier value, which is a user-defined identifier of some kind; the most common example is generated list counters. They are represented in the value syntax as <identifier>. Identifiers themselves are words, and are case-sensitive; thus, myID and MyID are, as far as CSS is concerned, completely distinct and unrelated to each other. In cases where a property accepts both an identifier and one or more keywords, the author should take care to never define an identifier identical to a valid keyword.
These value types are special because they serve as the foundation for so many other values types. For example, font sizes can be defined using the em identifier (covered later in this text) preceded by a number. But what kind of number? Defining the types of numbers here lets us speak clearly later on.
An integer value is about as simple as it gets: one or more numbers, optionally prefixed by a + or − sign to indicate a positive or negative value. That’s it. Integer values are represented in value syntax as <integer>. Examples include 13, −42, 712, and 1,066.
Integer values that fall outside a defined range are, by default, considered invalid and cause the entire declaration to be ignored. However, some properties define behavior that causes values outside the accepted range to be set to the accepted value closest to the declared value, known as clamping. In cases (such as the property z-index) where there is no restricted range, user agents must support values up to ±1,073,741,824 (±230).
A number value is either an <integer> or a real number, which is to say an integer followed by a dot and then some number of following integers. Additionally, it can be prefixed by either + or − to indicate positive or negative values. Number values are represented in value syntax as <number>. Examples include 2.7183, −3.1416, and 6.2832.
The reason a <number> can be an <integer> and yet there are separate value types is that some properties will only accept integers (e.g., z-index), whereas others will accept any real number (e.g., flex-grow). As with integer values, number values may have limits imposed on them by a property definition; for example, opacity restricts its value to be any valid <number> in the range 0 to 1, inclusive. By default, number values that fall outside a defined range are, by default, considered invalid and cause the entire declaration to be ignored. However, some properties define behavior that causes values outside the accepted range to be set to the accepted value closest to the declared value (generally referred to as “clamping”).
A percentage value is a <number> followed by a percentage sign (%), and is represented in value syntax as <percentage>. Examples would include 50% and 33.333%. Percentage values are always relative to another value, which can be anything—the value of another property of the same element, a value inherited from the parent element, or a value of an ancestor element. Any property that accepts percentage values will define any restrictions on the range of allowed percentage values, and will also define the way in which the percentage is relatively calculated.
A fraction value (or flex value) is a <number> followed by the label fr. Thus, one fractional unit is 1fr. This is a concept introduced by Grid Layout, and is used to divide up fractions of the unconstrained space in a layout. See Chapter 13 for more details.
Many CSS properties, such as margins, depend on length measurements to properly display various page elements. It’s likely no surprise, then, that there are a number of ways to measure length in CSS.
All length units can be expressed as either positive or negative numbers followed by a label, although note that some properties will accept only positive numbers. You can also use real numbers—that is, numbers with decimal fractions, such as 10.5 or 4.561. All length units are followed by short abbreviation (usually two characters) that represents the actual unit of length being specified, such as in (inches) or pt (points). The only exception to this rule is a length of 0 (zero), which need not be followed by a unit when describing lengths.
These length units are divided into two types: absolute length units and relative length units.
We’ll start with absolute units because they’re easiest to understand, despite the fact that they’re almost unusable in regular web design. The six types of absolute units are as follows:
in)As you might expect, this notation refers to the inches you’d find on a ruler in the United States. (The fact that this unit is in the specification, even though almost the entire world uses the metric system, is an interesting insight into the pervasiveness of US interests on the internet—but let’s not get into virtual sociopolitical theory right now.)
cm)Refers to the centimeters that you’d find on rulers the world over. There are 2.54 centimeters to an inch, and one centimeter equals 0.394 inches.
mm)For those Americans who are metric-challenged, there are 10 millimeters to a centimeter, so an inch equals 25.4 millimeters, and a millimeter equals 0.0394 inches.
q)There are 40 Q units in a centimeter; thus, setting an element to be 1/10 of a centimeter wide—which is also to say, a millimeter wide—would mean a value of 4q. (Only Firefox supported q as of late 2016.)
pt)Points are standard typographical measurements that have been used by printers and typesetters for decades and by word processing programs for many years. Traditionally, there are 72 points to an inch (points were defined before widespread use of the metric system). Therefore the capital letters of text set to 12 points should be one-sixth of an inch tall. For example, p {font-size: 18pt;} is equivalent to p {font-size: 0.25in;}.
pc)Picas are another typographical term. A pica is equivalent to 12 points, which means there are 6 picas to an inch. As just shown, the capital letters of text set to 1 pica should be one-sixth of an inch tall. For example, p {font-size: 1.5pc;} would set text to the same size as the example declarations found in the definition of points.
px)A pixel is a small box on screen, but CSS defines pixels more abstractly. In CSS terms, a pixel is defined to be the size required to yield 96 pixels per inch. Many user agents ignore this definition in favor of simply addressing the pixels on the screen. Scaling factors are brought into play when page zooming or printing, where an element 100px wide can be rendered more than 100 device dots wide.
These units are really useful only if the browser knows all the details of the screen on which your page is displayed, the printer you’re using, or whatever other user agent might apply. On a web browser, display is affected by the size of the screen and the resolution to which the screen is set—and there isn’t much that you, as the author, can do about these factors. You can only hope that, if nothing else, the measurements will be consistent in relation to each other—that is, that a setting of 1.0in will be twice as large as 0.5in, as shown in Figure 4-1.
Nevertheless, despite all that, let’s make the highly suspect assumption that your computer knows enough about its display system to accurately reproduce real-world measurements. In that case, you could make sure every paragraph has a top margin of half an inch by declaring p {margin-top: 0.5in;}. Regardless of font size or any other circumstances, a paragraph will have a half-inch top margin.
Absolute units are much more useful in defining stylesheets for printed documents, where measuring things in terms of inches, points, and picas is much more common.
On the face of things, pixels are straightforward. If you look at a screen closely enough, you can see that it’s broken up into a grid of tiny little boxes. Each box is a pixel. If you define an element to be a certain number of pixels tall and wide, as in the following markup:
<p>The following image is 20 pixels tall and wide:<imgsrc="test.gif"style="width: 20px; height: 20px;"alt=""/></p>
then it follows that the element will be that many screen elements tall and wide, as shown in Figure 4-2.
In general, if you declare something like font-size: 18px, a web browser will almost certainly use actual pixels on your screen—after all, they’re already there—but with other display devices, like printers, the user agent will have to rescale pixel lengths to something more sensible. In other words, the printing code has to figure out how many dots there are in a pixel.
On the other hand, pixel measurements are often useful for expressing the size of images, which are already a certain number of pixels tall and wide. These days, responsive design means that we often want to express image size in relation to the size of the text of the width of the viewport, regardless of the number of actual pixels in the image. You do end up relying on the image-scaling routines in user agents, but those have been getting pretty good. Scaling of images really makes sense with vector-based images like SVG.
In its discussion of pixels, the CSS specification recommends that, in cases where a display’s resolution density is significantly different than 96 pixels per inch (ppi), user agents should scale pixel measurements to a “reference pixel.” CSS2 recommended 90 ppi as the reference pixel, but CSS2.1 and CSS3 recommend 96 ppi. The most common example is a printer, which has dots instead of pixels, and which has a lot more dots per inch than 96! In printing web content, then, it may assume 96 pixels per inch and scale its output accordingly.
If a display’s resolution is set to 1,024 pixels wide by 768 pixels tall, its screen size is exactly 10 2/3 inches wide by 8 inches tall, and the screen is filled entirely by the display pixels, then each pixel will be 1/96 of an inch wide and tall. As you might guess, this scenario is a fairly rare occurrence. So, on most displays, the actual number of pixels per inch (ppi) is higher than 96—sometimes much higher. The Retina display on an iPhone 4S, for example, is 326 ppi; the display on the iPad 264 ppi.
As a Windows XP user, you should be able to set your display driver to make the display of elements correspond correctly to real-world measurements. The path to the ruler dialog is Start→Control Panel; double-click Display; click the Settings tab; then click Advanced to reveal a dialog box (which may differ on each PC). You should see a dropdown or other form control labeled Font Size; select Other.
With the advent of media queries and responsive designs, three new unit types were introduced in order to be able to describe display resolution:
dpi)The number of display dots per linear inch. This can refer to the dots in a paper printer’s output, the physical pixels in an LED screen or other device, or the elements in an e-ink display such as that used by a Kindle.
dpcm)Same as dpi, except the linear measure is one centimeter instead of one inch.
dppx)The number of display dots per CSS px unit. As of CSS3, 1dppx is equivalent to 96dpi because CSS defines pixel units at that ratio. Just bear in mind that ratio could change in future versions of CSS.
As of late 2017, these units are only used in the context of media queries. As an example, an author can create a media block to be used only on displays that have higher than 500 dpi:
@media(min-resolution:500dpi){/* rules go here */}
Relative units are so called because they are measured in relation to other things. The actual (or absolute) distance they measure can change due to factors beyond their control, such as screen resolution, the width of the viewing area, the user’s preference settings, and a whole host of other things. In addition, for some relative units, their size is almost always relative to the element that uses them and will thus change from element to element.
First, let’s consider em and ex, which are closely related. In CSS, one “em” is defined to be the value of font-size for a given font. If the font-size of an element is 14 pixels, then for that element, 1em is equal to 14 pixels.
As you may suspect, this value can change from element to element. For example, let’s say you have an h1 with a font size of 24 pixels, an h2 element with a font size of 18 pixels, and a paragraph with a font size of 12 pixels. If you set the left margin of all three at 1em, they will have left margins of 24 pixels, 18 pixels, and 12 pixels, respectively:
h1{font-size:24px;}h2{font-size:18px;}p{font-size:12px;}h1,h2,p{margin-left:1em;}small{font-size:0.8em;}
<h1>Left margin =<small>24 pixels</small></h1><h2>Left margin =<small>18 pixels</small></h2><p>Left margin =<small>12 pixels</small></p>
When setting the size of the font, on the other hand, the value of em is relative to the font size of the parent element, as illustrated by Figure 4-3.
In theory, one em is equal to the width of a lowercase m in the font used—that’s where the name comes from, in fact. It’s an old typographer’s term. However, this is not assured in CSS.
ex, on the other hand, refers to the height of a lowercase x in the font being used. Therefore, if you have two paragraphs in which the text is 24 points in size, but each paragraph uses a different font, then the value of ex could be different for each paragraph. This is because different fonts have different heights for x, as you can see in Figure 4-4. Even though the examples use 24-point text—and therefore each example’s em value is 24 points—the x-height for each is different.
Like the em unit, the rem unit is based on declared font size. The difference—and it’s a doozy—is that whereas em is calculated using the font size of the element to which it’s applied, rem is always calculated using the root element. In HTML, that’s the html element. Thus, declaring any element to have font-size: 1rem; is setting it to have the same font-size value as the root element of the document.
As an example, consider the following markup fragment. It will have the result shown in Figure 4-5.
<p>This paragraph has the same font size as the root element thanks to inheritance.</p><divstyle="font-size: 30px; background: silver;"><pstyle="font-size: 1em;">This paragraph has the same font size as its parent element.</p><pstyle="font-size: 1rem;">This paragraph has the same font size as the root element.</p></div>
In effect, rem acts as a reset for font size: no matter what relative font sizing has happened to the ancestors of an element, giving it font-size: 1rem; will put it right back where the root element is set. This will usually be the user’s default font size, unless you (or the user) have set the root element to a specific font size.
For example, given this declaration, 1rem will always be equivalent to 13px:
html{font-size:13px;}
However, given this declaration, 1rem will always be equivalent to three-quarters the user’s default font size:
html{font-size:75%;}
In this case, if the user’s default is 16 pixels, then 1rem will equal 12px. If the user has actually set their default to 12 pixels—a few people do this—then 1rem will equal 9px; if the default setting is 20 pixels, then 1rem equals 15px. And so on.
You are not restricted to the value 1rem. Any real number can be used, just as with the em unit, so you can do fun things like set all of your headings to be multiples of the root element’s font size:
h1{font-size:2rem;}h2{font-size:1.75rem;}h3{font-size:1.4rem;}h4{font-size:1.1rem;}h5{font-size:1rem;}h6{font-size:0.8rem;}
An interesting addition to CSS3 is the ch unit, which is broadly meant to represent “one character.” The way it is defined in CSS3 is:
Equal to the advance measure of the “0” (ZERO, U+0030) glyph found in the font used to render it.
The term advance measure is actually a CSS-ism that corresponds to the term “advance width” in font typography. CSS uses the term “measure” because some scripts are not right to left or left to right, but instead top to bottom or bottom to top, and so may have an advance height rather than an advance width. For simplicity’s sake, we’ll stick to advance widths in this section.
Without getting into too many details, a character glyph’s advance width is the distance from the start of a character glyph to the start of the next. This generally corresponds to the width of the glyph itself plus any built-in spacing to the sides. (Although that built-in spacing can be either positive or negative.)
CSS pins the ch unit to the advance width of a zero in a given font. This is in parallel to the way that em is calculated with respect to the font-size value of an element.
The easiest way to demonstrate this unit is to run a bunch of zeroes together and then set an image to have a width with the same number of ch units as the number of zeroes, as shown in Figure 4-6:
img{height:1em;width:25ch;}
Given a monospace font, all characters are by definition 1ch wide. In any proportional face type, which is what the vast majority of Western typefaces are, characters may be wider or narrower than the “0” and so cannot be assumed to be 1ch wide.
As of late 2017, only Opera Mini and Internet Explorer had problems with ch. In IE11, ch was mis-measured to be exactly the width of the “0” glyph, not the glyph plus the small amount of space to either side of it. Thus, 5ch was less than the width of “00000” in IE11. This error was corrected in Edge.
Another new addition in CSS3 are the three viewport-relative size units. These are calculated with respect to the size of the viewport—browser window, printable area, mobile device display, etc.:
vw)This unit is calculated with respect to the viewport’s width, which is divided by 100. Therefore, if the viewport is 937 pixels wide, 1vw is equal to 9.37px. If the viewport’s width changes, say by dragging the browser window wider or more narrow, the value of vw changes along with it.
vh)This unit is calculated with respect to the viewport’s height, which is divided by 100. Therefore, if the viewport is 650 pixels tall, 1vh is equal to 6.5px. If the viewport’s height changes, say by dragging the browser window taller or shorter, the value of vh changes along with it.
vmin)This unit is 1/100 of the viewport’s width or height, whichever is lesser. Thus, given a viewport that is 937 pixels wide by 650 pixels tall, 1vmin is equal to 6.5px.
vmax)This unit is 1/100 of the viewport’s width or height, whichever is greater. Thus, given a viewport that is 937 pixels wide by 650 pixels tall, 1vmax is equal to 9.37px.
Note that these are length units like any other, and so can be used anywhere a length unit is permitted. You can scale the font size of a heading in terms of the viewport, height, for example, with something like h1 {font-size: 10vh;}. This sets the font size to be 1/10 the height of the viewport—a technique potentially useful for article titles and the like.
These units can be particularly handy for creating full-viewport interfaces, such as those one would expect to find on a mobile device, because it can allow elements to be sized compared to the viewport and not any of the elements within the document tree. It’s thus very simple to fill up the entire viewport, or at least major portions of it, and not have to worry about the precise dimensions of the actual viewport in any particular case.
Here’s a very basic example of viewport-relative sizing, which is illustrated in Figure 4-7:
div{width:50vh;height:33vw;background:gray;}
An interesting (though perhaps not useful) fact about these units is that they aren’t bound to their own primary axis. Thus, for example, you can declare width: 25vh; to make an element as wide as one-quarter the height of the viewport.
As of late 2016, viewport-relative units were supported by all browsers except Opera Mini, plus the odd exception that vmax is not supported in Microsoft browsers.
In situations where you need to do a little math, CSS provides a calc() value. Inside the parentheses, you can construct simple mathematical expressions. The permitted operators are + (addition), - (subtraction), * (multiplication), and / (division), as well as parentheses. These follow the traditional PEMDAS (parentheses, exponents, multiplication, division, addition, subtraction) precedence order, although in this case it’s really just PMDAS since exponents are not permitted in calc().
Support for parentheses in calc() appears to be a convenience provided by browsers, since they’re not mentioned in the syntax definition for calc(). It seems likely that support for parentheses will remain, but use at your own risk.
As an example, suppose you want your paragraphs to have a width that’s 2 em less than 90% the width of their parent element. Here’s how you express that with calc():
p{width:calc(90%-2em);}
calc() can be used anywhere one of the following value types is permitted: <length>, <frequency>, <angle>, <time>, <percentage>, <number>, and <integer>. You can also use all these unit types within a calc() value, though there are some limitations to keep in mind.
The basic limitation is that calc() does basic type checking to make sure that units are, in effect, compatible. The checking works like this:
To either side of a + or - sign, both values must have the same unit type, or be a <number> and <integer> (in which case, the result is a <number>). Thus, 5 + 2.7 is valid, and results in 7.7. On the other hand, 5em + 2.7 is invalid, because one side has a length unit and the other does not. Note that 5em + 20px is valid, because em and px are both length units.
Given a *, one of the values involved must be a <number> (which, remember, includes integer values). So 2.5rem * 2 and 2 * 2.5rem are both valid, and each result in 5rem. On the flip side, 2.5rem * 2rem is not valid, because the result would be 5rem2, and length units cannot be area units.
Given a /, the value on the right side must be a <number>. If the left side is an <integer>, the result is a <number>. Otherwise, the result is of the unit type used on the left side. This means that 30em / 2.75 is valid, but 30 / 2.75em is not valid.
Furthermore, any circumstance that yields division by zero is invalid. This is easiest to see in a case like 30px/0, but there are other ways to get there.
There’s one more notable limitation, which is that whitespace is required to either side of the + and - operators, while it is not for * and /. This avoids ambiguity with respect to values which can be negative.
Beyond that, the specification requires that user agents support a minimum of 20 terms inside a calc() expression, where a term is a number, percentage, or dimension (length). In situations where the number of terms somehow exceeds the user agent’s term limits, the entire expression is treated as invalid.
In a few CSS properties, it’s possible to pull in the value of an HTML attribute defined for the element being styled. This is done with the attr() expression.
For example, with generated content, you can insert the value of any attribute. It looks something like this (don’t worry about understanding the exact syntax, which we’ll explore in Chapter 15):
p::before{content:"["attr(id)"]";}
That expression would prefix any paragraph that has an id attribute with the value of that id, enclosed in square brackets. Therefore applying the previous style to the following paragraphs would have the result shown in Figure 4-8:
<pid="leadoff">This is the first paragraph.</p><p>This is the second paragraph.</p><pid="conclusion">This is the third paragraph.</p>
It’s theoretically possible to use attr() in almost any property value, specifying the value type within the expression. For example, you could (again, in theory) use the maxlength attribute on an input field to determine its width, as shown here:
input[type="text"]{width:attr(maxlengthem);}<inputtype="text"maxlength="10">
Given that setup, the input element would be styled to be 10 em wide, assuming a user agent that supports this use of attr(). As of late 2016, this was not the case: no tested browser supported this application of attr().
One of the first questions every starting web author asks is, “How do I set colors on my page?” Under HTML, you have two choices: you could use one of a small number of colors with names, such as red or purple, or employ a vaguely cryptic method using hexadecimal codes. Both of these methods for describing colors remain in CSS, along with some other—and, I think, more intuitive—methods.
Assuming that you’re content to pick from a small, basic set of colors, the easiest method is to use the name of the color you want. CSS calls these color choices, logically enough, named colors. In the early days of CSS, there were 16 basic color keywords, which were the 16 colors defined in HTML 4.01. These are shown in Table 4-1.
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So, let’s say you want all first-level headings to be maroon. The best declaration would be:
h1{color:maroon;}
Simple enough, isn’t it? Figure 4-9 shows a few more examples:
h1{color:silver;}h2{color:fuchsia;}h3{color:navy;}
You’ve probably seen (and maybe even used) color names other than the ones listed earlier. For example, if you specify:
h1{color:lightgreen;}
As of late 2017, the latest CSS color specification includes those original 16 named colors in a longer list of 148 color keywords. This extended list is based on the standard X11 RGB values that have been in use for decades, and have been recognized by browsers for many years, with the addition of some color names from SVG (mostly involving variants of “gray” and “grey”). A table of color equivalents for all 148 keywords defined in the CSS Color Module Level 4 is given in Appendix C.
Fortunately, there are more detailed and precise ways to specify colors in CSS. The advantage is that, with these methods, you can specify any color in the color spectrum, not just a limited list of named colors.
Computers create colors by combining different levels of red, green, and blue, a combination that is often referred to as RGB color. Each point of display is known as a pixel. Given the way colors are created on a screen, it makes sense that you should have direct access to those colors, determining your own mixture of the three for maximum control. That solution is complex, but possible, and the payoffs are worth it because there are very few limits on which colors you can produce. There are four ways to affect color in this manner.
There are two color value types that use functional RGB notation as opposed to hexadecimal notation. The generic syntax for this type of color value is rgb(color), where color is expressed using a triplet of either percentages or integers. The percentage values can be in the range 0%–100%, and the integers can be in the range 0–255.
Thus, to specify white and black, respectively, using percentage notation, the values would be:
rgb(100%,100%,100%)rgb(0%,0%,0%)
Using the integer-triplet notation, the same colors would be represented as:
rgb(255,255,255)rgb(0,0,0)
An important thing to remember is that you can’t mix integers and percentages in the same color value. Thus, rgb(255,66.67%,50%) would be invalid and thus ignored.
Assume you want your h1 elements to be a shade of red that lies between the values for red and maroon. red is equivalent to rgb(100%,0%,0%), whereas maroon is equal to (50%,0%,0%). To get a color between those two, you might try this:
h1{color:rgb(75%,0%,0%);}
This makes the red component of the color lighter than maroon, but darker than red. If, on the other hand, you want to create a pale red color, you would raise the green and blue levels:
h1{color:rgb(75%,50%,50%);}
The closest equivalent color using integer-triplet notation is:
h1{color:rgb(191,127,127);}
The easiest way to visualize how these values correspond to color is to create a table of gray values. The result is shown in Figure 4-10:
p.one{color:rgb(0%,0%,0%);}p.two{color:rgb(20%,20%,20%);}p.three{color:rgb(40%,40%,40%);}p.four{color:rgb(60%,60%,60%);}p.five{color:rgb(80%,80%,80%);}p.six{color:rgb(0,0,0);}p.seven{color:rgb(51,51,51);}p.eight{color:rgb(102,102,102);}p.nine{color:rgb(153,153,153);}p.ten{color:rgb(204,204,204);}
Since we’re dealing in shades of gray, all three RGB values are the same in each statement. If any one of them were different from the others, then a color hue would start to emerge. If, for example, rgb(50%,50%,50%) were modified to be rgb(50%,50%,60%), the result would be a medium-dark color with just a hint of blue.
It is possible to use fractional numbers in percentage notation. You might, for some reason, want to specify that a color be exactly 25.5 percent red, 40 percent green, and 98.6 percent blue:
h2{color:rgb(25.5%,40%,98.6%);}
A user agent that ignores the decimal points (and some do) should round the value to the nearest integer, resulting in a declared value of rgb(26%,40%,99%). In integer triplets, you are limited to integers.
Values that fall outside the allowed range for each notation are clipped to the nearest range edge, meaning that a value that is greater than 100% or less than 0% will default to those allowed extremes. Thus, the following declarations would be treated as if they were the values indicated in the comments:
P.one{color:rgb(300%,4200%,110%);}/* 100%,100%,100% */P.two{color:rgb(0%,-40%,-5000%);}/* 0%,0%,0% */p.three{color:rgb(42,444,-13);}/* 42,255,0 */
Conversion between percentages and integers may seem arbitrary, but there’s no need to guess at the integer you want—there’s a simple formula for calculating them. If you know the percentages for each of the RGB levels you want, then you need only apply them to the number 255 to get the resulting values. Let’s say you have a color of 25 percent red, 37.5 percent green, and 60 percent blue. Multiply each of these percentages by 255, and you get 63.75, 95.625, and 153. Round these values to the nearest integers, and voilà: rgb(64,96,153).
If you already know the percentage values, there isn’t much point in converting them into integers. Integer notation is more useful for people who use programs such as Photoshop, which can display integer values in the Info dialog, or for those who are so familiar with the technical details of color generation that they normally think in values of 0–255.
As of CSS3, the two functional RGB notations were extended into a functional RGBa notation. This notation adds an alpha value to the end of the RGB triplets; thus “red-green-blue-alpha” becomes RGBa. The alpha stands for alpha channel, which is a measure of opacity.
For example, suppose you wanted an element’s text to be half-opaque white. That way, any background color behind the text would “shine through,” mixing with the half-transparent white. You would write one of the following two values:
rgba(255,255,255,0.5)rgba(100%,100%,100%,0.5)
To make a color completely transparent, you set the alpha value to 0; to be completely opaque, the correct value is 1. Thus rgb(0,0,0) and rgba(0,0,0,1) will yield precisely the same result (black). Figure 4-11 shows a series of paragraphs set in increasingly transparent black, which is the result of the following rules.
p.one{color:rgba(0,0,0,1);}p.two{color:rgba(0%,0%,0%,0.8);}p.three{color:rgba(0,0,0,0.6);}p.four{color:rgba(0%,0%,0%,0.4);}p.five{color:rgba(0,0,0,0.2);}
As you’ve no doubt already inferred, alpha values are always real numbers in the range 0 to 1. Any value outside that range will either be ignored or reset to the nearest valid alpha value. You cannot use <percentage> to represent alpha values, despite the mathematical equivalence.
CSS allows you to define a color using the same hexadecimal color notation so familiar to old-school HTML web authors:
h1{color:#FF0000;}/* set H1s to red */h2{color:#903BC0;}/* set H2s to a dusky purple */h3{color:#000000;}/* set H3s to black */h4{color:#808080;}/* set H4s to medium gray */
Computers have been using hex notation for quite some time now, and programmers are typically either trained in its use or pick it up through experience. Their familiarity with hexadecimal notation likely led to its use in setting colors in HTML. That practice was carried over to CSS.
Here’s how it works: by stringing together three hexadecimal numbers in the range 00 through FF, you can set a color. The generic syntax for this notation is #RRGGBB. Note that there are no spaces, commas, or other separators between the three numbers.
Hexadecimal notation is mathematically equivalent to integer-pair notation. For example, rgb(255,255,255) is precisely equivalent to #FFFFFF, and rgb(51,102,128) is the same as #336680. Feel free to use whichever notation you prefer—it will be rendered identically by most user agents. If you have a calculator that converts between decimal and hexadecimal, making the jump from one to the other should be pretty simple.
For hexadecimal numbers that are composed of three matched pairs of digits, CSS permits a shortened notation. The generic syntax of this notation is #RGB:
h1{color:#000;}/* set H1s to black */h2{color:#666;}/* set H2s to dark gray */h3{color:#FFF;}/* set H3s to white */
As you can see from the markup, there are only three digits in each color value. However, since hexadecimal numbers between 00 and FF need two digits each, and you have only three total digits, how does this method work?
The answer is that the browser takes each digit and replicates it. Therefore, #F00 is equivalent to #FF0000, #6FA would be the same as #66FFAA, and #FFF would come out #FFFFFF, which is the same as white. Not every color can be represented in this manner. Medium gray, for example, would be written in standard hexadecimal notation as #808080. This cannot be expressed in shorthand; the closest equivalent would be #888, which is the same as #888888.
A new (as of late 2017) hexadecimal notation adds a fourth hex value to represent the alpha channel value. Figure 4-11 shows a series of paragraphs set in increasingly transparent black, just as we saw in the previous section, which is the result of the following rules:
p.one{color:#000000FF;}p.two{color:#000000CC;}p.three{color:#00000099;}p.four{color:#00000066;}p.five{color:#00000033;}
As with non-alpha hexadecimal values, it’s possible to shorten a value composed of matched pairs to a four-digit value. Thus, a value of #663399AA can be written as #639A. If the value has any pairs that are not repetitive, then the entire eight-digit value must be written out: #663399CA cannot be shortened to #639CA.
As of late 2017, the alpha-channel hexadecimal notation was supported in Firefox and Safari, and had experimental implementations in Chrome and Opera.
New to CSS3 (though not to the world of color theory in general) are HSL notations. HSL stands for Hue, Saturation, and Lightness, where the hue is a hue angle in the range 0–360, saturation is a percentage value from 0 (no saturation) to 100 (full saturation), and lightness is a percentage value from 0 (completely dark) to 100 (completely light).
The hue angle is expressed in terms of a circle around which the full spectrum of colors progresses. It starts with red at 0 degrees and then proceeds through the rainbow until it comes to red again at 360 degrees. Figure 4-13 illustrates this visually by showing the angles and colors of the spectrum on a wheel as well as a linear strip.
If you’re intimately familiar with RGB, then HSL may be confusing at first. (But then, RGB is confusing for people familiar with HSL.) You may be able to better grasp the hues in HSL by contemplating the diagram in Figure 4-14, which shows the spectrum results from placing and then mixing red, green, and blue.
As for the other two values, saturation measures the intensity of a color. A saturation of 0% always yields a shade of gray, no matter what hue angle you have set, and a saturation of 100% creates the most vivid possible shade of that hue for a given lightness. Similarly, lightness defines how dark or light the color appears. A lightness of 0% is always black, regardless of the other hue and saturation values, just as a lightness of 100% always yields white. Consider the results of the following styles, illustrated on the left side of Figure 4-15.
p.one{color:hsl(0,0%,0%);}p.two{color:hsl(60,0%,25%);}p.three{color:hsl(120,0%,50%);}p.four{color:hsl(180,0%,75%);}p.five{color:hsl(240,0%,0%);}p.six{color:hsl(300,0%,25%);}p.seven{color:hsl(360,0%,50%);}
The gray you see on the left side isn’t just a function of the limitations of print: every single one of those bits of text is a shade of gray, because every color value has 0% in the saturation (middle) position. The degree of lightness or darkness is set by the lightness (third) position. In all seven examples, the hue angle changes, and in none of them does it matter. But that’s only so long as the saturation remains at 0%. If that value is raised to, say, 50%, then the hue angle will become very important, because it will control what sort of color you see. Consider the same set of values that we saw before, but all set to 50% saturation, as illustrated on the right side of Figure 4-15.
It can be instructive to take the 16 color keywords defined in HTML4 (Table 4-1) and plot them against a hue-and-lightness wheel, as shown in Figure 4-16. The color wheel not only features the full spectrum around the rim, but also runs from 50 percent lightness at the edge to 0 percent lightness in the center. (The saturation is 100 percent throughout.) As you can see, the 12 keywords of color are regularly placed throughout the wheel, which bespeaks careful choice on the part of whoever chose them. The gray shades aren’t quite as regularly placed, but are probably the most useful distribution of shades, given that there were only four of them.
Just as RGB has its RGBa counterpart, HSL has an HSLa counterpart. This is an HSL triplet followed by an alpha value in the range 0–1. The following HSLa values are all black with varying shades of transparency, just as in “Hexadecimal RGBa colors” (and illustrated in Figure 4-11):
p.one{color:hsla(0,0%,0%,1);}p.two{color:hsla(0,0%,0%,0.8);}p.three{color:hsla(0,0%,0%,0.6);}p.four{color:hsla(0,0%,0%,0.4);}p.five{color:hsla(0,0%,0%,0.2);}
There are two special keywords that can be used anywhere a color value is permitted. These are transparent and currentColor.
As its name suggests, transparent defines a completely transparent color. The CSS Color Module defines it to be equivalent to rgba(0,0,0,0), and that’s its computed value. The is not often used to set text color, for example, but it is essentially the default value for element background colors. It can also be used to define element borders that take up space, but are not visible, and is often used when defining gradients—all topics we’ll cover in later chapters.
By contrast, currentColor means “whatever the computed value of color is for this element.” Consider the following:
main{color:gray;border-color:currentColor;}
The first declaration causes any main elements to have a foreground color of gray. The second declaration uses currentColor to copy the computed value of color—in this case, rgb(50%,50%,50%), which is equivalent to gray—and apply it to any borders the main elements might have.
Since we just finished talking about hue angles in HSL, this would be a good time to talk about angle units. Angles in general are represented as <angle>, which is a <number> followed by one of four unit types:
degDegrees, of which there are 360 in a full circle.
gradGradians, of which there are 400 in a full circle. Also known as grades or gons.
radRadians, of which there are 2π (approximately 6.28) in a full circle.
turnTurns, of which there is one in a full circle. This unit is mostly useful when animating a rotation and you wish to have it turn multiple times, such as 10turn to make it spin 10 times. (Sadly, the pluralization turns is invalid, at least as of late 2017, and will be ignored.)
Angle units (Table 4-2) are mostly used in 2D and 3D transforms, though they do appear in a few other places. Note that angle units are not used in HSL colors, where all hue angle values are always degrees and thus do not use the deg unit!
| Degrees | Gradians | Radians | Turns |
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In cases where a property needs to express a period of time, the value is represented as <time> and is a <number> followed by either s (seconds) or ms (milliseconds.) Time values are most often used in transitions and animations, either to define durations or delays. The following two declarations will have exactly the same result:
a[href]{transition-duration:2.4s;}a[href]{transition-duration:2400ms;}
Time values are also used in aural CSS, again to define durations or delays, but support for aural CSS is extremely limited as of this writing.
Another value type historically used in aural CSS is <frequency>, which is a <number> followed by either Hz (hertz) or kHz (kilohertz). As usual, the unit identifiers are case-insensitive, so Hz and hz are equivalent. The following two declarations will have exactly the same result:
h1{pitch:128hz;}h1{pitch:0.128khz;}
A position value is how you specify the placement of an origin image in a background area, and is represented as <position>. Its syntactical structure is rather complicated:
[ [ left | center | right | top | bottom | <percentage> | <length> ] | [ left | center | right | <percentage> | <length> ] [ top | center | bottom | <percentage> | <length> ] | [ center | [ left | right ] [ <percentage> | <length> ]? ] && [ center | [ top | bottom ] [ <percentage> | <length> ]? ] ]
That might seem a little nutty, but it’s all down to the subtly complex patterns that this value type has to allow.
If you declare only one value, such as left or 25%, then a second value is set to center. Thus, left is the same as left center, and 25% is the same as 25%
center.
If you declare (either implicitly, as above, or explicitly) two values, and the first one is a length or percentage, then it is always considered to be the horizontal value. This means that given 25% 35px, the 25% is a horizontal distance and the 35px is a vertical distance. If you swap them to say 35px 25%, then 35px is horizontal and 25% is vertical. This means that if you write 25% left or 35px right, the entire value is invalid because you have supplied two horizontal distances and no vertical distance. (Similarly, a value of right left or top bottom is invalid and will be ignored.) On the other hand, if you write left
25% or right 35px, there is no problem because you’ve given a horizontal distance (with the keyword) and a vertical distance (with the percentage or length).
If you declare four values (we’ll deal with three just in a moment), then you must have two lengths or percentages, each of which is preceded by a keyword. In this case, each length or percentage specifies an offset distance, and each keyword defines the edge from which the offset is calculated. Thus, right 10px bottom
30px means an offset of 10 pixels to the left of the right edge, and an offset of 30 pixels up from the bottom edge. Similarly, top 50% left 35px means a 50 percent offset from the top and a 35-pixels-to-the-right offset from the left.
If you declare three values, the rules are the same as for four, except the fourth offset is set to be zero (no offset). Thus right 20px top is the same as right 20px top 0.
As this book was being finished in late 2017, a new capability was being added to CSS. The technical term for this is custom properties, even though what these really do is create sort of variables in your CSS. They do not, contrary to their name, create special CSS properties, in the sense of properties like color or font.
Here’s a simple example, with the result shown in Figure 4-17:
html{--base-color:#639;--highlight-color:#AEA;}h1{color:var(--base-color);}h2{color:var(--highlight-color);}
There are two things to absorb here. The first is the definition of the custom values --base-color and --highlight-color. These are not some sort of special color types. They’re just names that were picked to describe what the values contain. We could just as easily have said:
html{--alison:#639;--david:#AEA;}h1{color:var(--alison);}h2{color:var(--david);}
You probably shouldn’t do that sort of thing, unless you’re literally defining colors that specifically correspond to people named Alison and David. (Perhaps on an “About Our Team” page.) It’s always better to define custom identifiers that are self-documenting—things like main-color or accent-color or brand-font-face.
The important thing is that any custom identifier of this type begins with two hyphens (--). It can then be invoked later on using a var() value type. Note that these names are case-sensitive, so --main-color and --Main-color are completely separate identifiers.
These custom identifiers are often referred to as “CSS variables,” which explains the var() pattern. This labelling has some truth to it, but bear in mind that these are not full-blown variables in the programming-language sense. They’re more like macros in text editors: simple substitutions of one value for another.
An interesting feature of custom properties is their ability to scope themselves to a given context. If that sentence made any sense to you, it probably gave a little thrill. If not, here’s an example to illustrate scoping, with the result shown in Figure 4-18:
html{--base-color:#639;}aside{--base-color:#F60;}h1{color:var(--base-color);}
<body><h1>Heading 1</h1><p>Main text.</p><aside><h1>Heading 1</h1><p>An aside.</p></aside><h1>Heading 1</h1><p>Main text.</p></body>
Notice how the headings are purple outside the aside element and orange inside. That’s because the variable --base-color was updated for aside elements. The new custom value applies to any h1 inside an aside element.
There are a great many patterns possible with CSS variables, even if they are confined to value replacement. Here’s an example suggested by Chriztian Steinmeier combining variables with the calc() value type to create a regular set of indents for unordered lists:
html{--gutter:3ch;--offset:1;}ulli{margin-left:calc(var(--gutter)*var(--offset));}ululli{--offset:2;}ulululli{--offset:3;}
This particular example is basically the same as writing:
ulli{margin-left:3ch;}ululli{margin-left:6ch;}ulululli{margin-left:9ch;}
The difference is that with variables, it’s simple to update the --gutter multiplier in one place and have everything adjust automatically, rather than having to retype three values and make sure all the math is correct.
This method of using abstract variable names opens an entirely new way of styling, an approach which has little precedent in the history of CSS. If you want to try out custom properties but are concerned about support, remember the @supports() feature query. Using this approach will keep your variable styling safely hidden away:
@supports(color:var(--custom)){/* variable-dependent styles go here */}@supports(--custom:value){/* alternate query pattern */}
To reiterate: custom properties were just going into production as of late 2017, as the book was being finished. There were still uncertainties to be worked out around how custom properties should be used, how powerful they may become, how they relate to the cascade, and more. While they’re worth knowing about and experimenting with, bear in mind that anything stated here may have changed or been removed by the time you read this.
The beginning of the “Font Properties” section of the CSS1 specification, written in 1996, begins with this sentence: “Setting font properties will be among the most common uses of style sheets.” The intervening years have done nothing to disprove this assertion.
CSS2 added the ability to specify custom fonts for download with @font-face, but it wasn’t until about 2009 that this capability really began to be widely and consistently supported. Now, websites can call on any font they have the right to use, aided by online services such as Typekit. Generally speaking, if you can get access to a font, you can use it in your design.
It’s important to remember, however, that this does not grant absolute control over fonts. If the font you’re using fails to download, or is in a file format the user’s browser doesn’t understand, then the text will be displayed with a fallback font. That’s a good thing, since it means the user still gets your content, but it’s worth bearing in mind that you cannot absolutely depend on the presence of a given font and should never design as if you can.
What we think of as a “font” is usually composed of many variations to describe bold text, italic text, and so on. For example, you’re probably familiar with (or at least have heard of) the font Times. However, Times is actually a combination of many variants, including TimesRegular, TimesBold, TimesItalic, TimesBoldItalic, and so on. Each of these variants of Times is an actual font face, and Times, as we usually think of it, is a combination of all these variant faces. In other words, Times is actually a font family, not just a single font, even though most of us think about fonts as being single entities.
In order to cover all the bases, CSS defines five generic font families:
These fonts are proportional and have serifs. A font is proportional if all characters in the font have different widths due to their various sizes. For example, a lowercase i and a lowercase m are different widths. (This book’s paragraph font is proportional, for example.) Serifs are the decorations on the ends of strokes within each character, such as little lines at the top and bottom of a lowercase l, or at the bottom of each leg of an uppercase A. Examples of serif fonts are Times, Georgia, and New Century Schoolbook.
These fonts are proportional and do not have serifs. Examples of sans-serif fonts are Helvetica, Geneva, Verdana, Arial, and Univers.
Monospace fonts are not proportional. These generally are used for displaying programmatic code or tabular data. In these fonts, each character uses up the same amount of horizontal space as all the others; thus, a lowercase i takes up the same horizontal space as a lowercase m, even though their actual letterforms may have different widths. These fonts may or may not have serifs. If a font has uniform character widths, it is classified as monospace, regardless of the presence of serifs. Examples of monospace fonts are Courier, Courier New, Consolas, and Andale Mono.
These fonts attempt to emulate human handwriting or lettering. Usually, they are composed largely of flowing curves and have stroke decorations that exceed those found in serif fonts. For example, an uppercase A might have a small curl at the bottom of its left leg or be composed entirely of swashes and curls. Examples of cursive fonts are Zapf Chancery, Author, and Comic Sans.
Such fonts are not really defined by any single characteristic other than our inability to easily classify them in one of the other families (these are sometimes called “decorative” or “display” fonts). A few such fonts are Western, Woodblock, and Klingon.
In theory, every font family will fall into one of these generic families. In practice, this may not be the case, but the exceptions (if any) are likely to be few and far between, and browsers are likely to drop any fonts they cannot classify as serif, sans-serif, monospace, or cursive into the “fantasy” bucket.
You can call on any available font family by using the property font-family.
If you want a document to use a sans-serif font, but you do not particularly care which one, then the appropriate declaration would be:
body{font-family:sans-serif;}
This will cause the user agent to pick a sans-serif font family (such as Helvetica) and apply it to the body element. Thanks to inheritance, the same font family choice will be applied to all the elements that descend from the body—unless a more specific selector overrides it.
Using nothing more than these generic families, an author can create a fairly sophisticated stylesheet. The following rule set is illustrated in Figure 5-1:
body{font-family:serif;}h1,h2,h3,h4{font-family:sans-serif;}code,pre,tt,kbd{font-family:monospace;}p.signature{font-family:cursive;}
Thus, most of the document will use a serif font such as Times, including all paragraphs except those that have a class of signature, which will instead be rendered in a cursive font such as Author. Heading levels 1 through 4 will use a sans-serif font like Helvetica, while the elements code, pre, tt, and kbd will use a monospace font like Courier.
An author may, on the other hand, have more specific preferences for which font to use in the display of a document or element. In a similar vein, a user may want to create a user stylesheet that defines the exact fonts to be used in the display of all documents. In either case, font-family is still the property to use.
Assume for the moment that all h1s should use Georgia as their font. The simplest rule for this would be the following:
h1{font-family:Georgia;}
This will cause the user agent displaying the document to use Georgia for all h1s, as shown in Figure 5-2.
This rule assumes that the user agent has Georgia available for use. If it doesn’t, the user agent will be unable to use the rule at all. It won’t ignore the rule, but if it can’t find a font called “Georgia,” it can’t do anything but display h1 elements using the user agent’s default font (whatever that is).
All is not lost, however. By combining specific font names with generic font families, you can create documents that come out, if not exact, at least close to your intentions. To continue the previous example, the following markup tells a user agent to use Georgia if it’s available, and to use another serif font if it’s not:
h1{font-family:Georgia,serif;}
If a reader doesn’t have Georgia installed but does have Times, the user agent might use Times for h1 elements. Even though Times isn’t an exact match to Georgia, it’s probably close enough.
For this reason, I strongly encourage you to always provide a generic family as part of any font-family rule. By doing so, you provide a fallback mechanism that lets user agents pick an alternative when they can’t provide an exact font match. Here are a few more examples:
h1{font-family:Arial,sans-serif;}h2{font-family:Charcoal,sans-serif;}p{font-family:'Times New Roman',serif;}address{font-family:Chicago,sans-serif;}
If you’re familiar with fonts, you might have a number of similar fonts in mind for displaying a given element. Let’s say that you want all paragraphs in a document to be displayed using Times, but you would also accept Times New Roman, Georgia, New Century Schoolbook, and New York (all of which are serif fonts) as alternate choices. First, decide the order of preference for these fonts, and then string them together with commas:
p{font-family:Times,'Times New Roman','New Century Schoolbook',Georgia,'New York',serif;}
Based on this list, a user agent will look for the fonts in the order they’re listed. If none of the listed fonts are available, then it will just pick an available serif font.
You may have noticed the presence of single quotes in the previous example, which we haven’t seen before. Quotation marks are advisable in a font-family declaration only if a font name has one or more spaces in it, such as “New York,” or if the font name includes symbols such as # or $. Thus, a font called Karrank% should probably be quoted:
h2{font-family:Wedgie,'Karrank%',Klingon,fantasy;}
If you leave off the quotation marks, there is a chance that user agents will ignore that particular font name altogether, although they’ll still process the rest of the rule.
Note that the quoting of a font name containing a symbol is not actually required any more. Instead, it’s recommended, which is as close to describing best practices as the CSS specification ever really gets. Similarly, it is recommended that you quote a font name containing spaces, though again, this is generally unnecessary in modern user agents. As it turns out, the only required quotation is for font names that match accepted font-family keywords. Thus, if you call for a font whose actual name is “cursive,” you’ll definitely need to quote it in order to distinguish it from the value keyword cursive:
h2{font-family:Author,"cursive",cursive;}
Font names that use a single word (which doesn’t conflict with any of the keywords for font-family) need not be quoted, and generic family names (serif, monospace, etc.) should never be quoted when they refer to the actual generic families. If you quote a generic name, then the user agent will assume that you are asking for a specific font with that name (for example, “serif”), not a generic family.
As for which quotation marks to use, both single and double quotes are acceptable. Remember that if you place a font-family rule in a style attribute, which you generally shouldn’t, you’ll need to use whichever quotes you didn’t use for the attribute itself. Therefore, if you use double quotes to enclose the font-family rule, then you’ll have to use single quotes within the rule, as in the following markup:
p{font-family:sans-serif;}/* sets paragraphs to sans-serif by default */
<!-- the next example is correct (uses single-quotes) --><pstyle="font-family: 'New Century Schoolbook', Times, serif;">...</p><!-- the next example is NOT correct (uses double-quotes) --><pstyle="font-family: "NewCenturySchoolbook",Times,serif;">...</p>
If you use double quotes in such a circumstance, they interfere with the attribute syntax, as you can see in Figure 5-3.
A feature that originally debuted in CSS2 but wasn’t implemented until late in the first decade of the 2000s, @font-face lets you use custom fonts in your designs. While there’s no guarantee that every last user will see the font you want, this feature is very widely supported.
Suppose you want to use a very specific font in your stylesheets, one that is not widely installed. Through the magic of @font-face, you can define a specific family name to correspond to a font file on your server. The user agent will download that file and use it to render the text in your page, the same as if it were installed on the user’s machine. For example:
@font-face{font-family:"SwitzeraADF";src:url("SwitzeraADF-Regular.otf");}
This allows the author to have conforming user agents load the defined .otf file and use that font to render text when called upon via font-family: SwitzeraADF.
The examples in this section refer to SwitzeraADF, a font face collection available from the Arkandis Digital Foundry.
The intent of @font-face is to allow lazy loading of font faces. This means that only those faces needed to render a document will actually be loaded, with the rest being left alone. In fact, a browser that downloads all declared font faces without considering whether they’re actually needed is considered to be buggy.
All the parameters that define the font you’re referencing are contained within the @font-face { } construct. These are called descriptors, and very much like properties, they take the format descriptor: value;. In fact, most of the descriptor names refer directly to property names, as will be explained in just a moment.
There are two required descriptors: font-family and src.
The point of src is pretty straightforward: it lets you define one or more sources for the font face you’re defining, using a comma-separated list if there are in fact multiple sources. You can point to a font face at any URI, but there is a restriction: font faces can only be loaded from the same origin as the stylesheet. Thus, you can’t point your src at someone else’s site and download their font; you’ll need to host a local copy on your own server, or use a font-hosting service that provides both the stylesheet(s) and the font file(s).
There is an exception to the same-origin restriction, which is that servers can permit cross-site loading using the HTTP header Access-Control-Allow-Origin.
You may well be wondering how it is that we’re defining font-family here when it was already defined in a previous section. The difference is that this font-family is the font-family descriptor, and the previously-defined font-family was the font-family property. If that seems confusing, stick with me a moment and all should become clear.
In effect, @font-face lets you create low-level definitions that underpin the font-related properties like font-family. When you define a font family name via the descriptor font-family: "SwitzeraADF";, you’re setting up an entry in the user agent’s table of font families for “SwitzeraADF.” It thus joins all the usual suspects like Helvetica, Georgia, Courier, and so forth, as a font you can just refer to in your font-family property values:
@font-face{font-family:"SwitzeraADF";/* descriptor */src:url("SwitzeraADF-Regular.otf");}h1{font-family:SwitzeraADF,Helvetica,sans-serif;}/* property */
Note how the font-family descriptor value and the entry in the font-family property match. If they didn’t match, then the h1 rule would ignore the first font family name listed in the font-family value and move on to the next. As long as the font has cleanly downloaded and is in a format the user agent can handle, then it will be used in the manner you direct, as illustrated in Figure 5-4.
In a similar manner, the comma-separated src descriptor value provides fallbacks. That way, if (for whatever reason) the user agent is unable to download the first source, it can fall back to the second source and try to load the file there:
@font-face{font-family:"SwitzeraADF";src:url("SwitzeraADF-Regular.otf"),url("/fonts/SwitzeraADF-Regular.otf");}
Remember that the same-origin policy generally applies in this case, so pointing to a copy of the font some other server will usually fail, unless said server is set up to permit cross-origin access.
If you want to be sure the user agent understands what kind of font you’re telling it to use, that can be done with the optional format():
@font-face{font-family:"SwitzeraADF";src:url("SwitzeraADF-Regular.otf")format("opentype");}
The advantage of supplying a format() description is that user agents can skip downloading files in formats that they don’t support, thus reducing bandwidth use and loading speed. It also lets you explicitly declare a format for a file that might not have a common filename extension and thus be unfamiliar to the user agent:
@font-face{font-family:"SwitzeraADF";src:url("SwitzeraADF-Regular.otf")format("opentype"),url("SwitzeraADF-Regular.true")format("truetype");}
Table 5-1 lists all of the allowed format values (as of late 2017).
| Value | Format |
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EOT (Embedded OpenType) |
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OTF (OpenType) |
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SVG (Scalable Vector Graphics) |
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TTF (TrueType) |
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WOFF (Web Open Font Format) |
In addition to the combination of url() and format(), you can also supply a font family name (or several names) in case the font is already locally available on the user’s machine, using the aptly-named local():
@font-face{font-family:"SwitzeraADF";src:local("Switzera-Regular"),local("SwitzeraADF-Regular "),url("SwitzeraADF-Regular.otf")format("opentype"),url("SwitzeraADF-Regular.true")format("truetype");}
In this example, the user agent looks to see if it already has a font family named “Switzera-Regular” or “SwitzeraADF-Regular” available. If so, it will use the name SwitzeraADF to refer to that locally installed font. If not, it will use the url() value to try downloading the remote font.
Note that this capability allows an author to create custom names for locally installed fonts. For example, you could set up a shorter name for Helvetica (or, failing that, Helvetica Neue) like so:
@font-face{font-family:"H";src:local("Helvetica"),local("Helvetica Neue");}h1,h2,h3{font-family:H,sans-serif;}
As long as the user has Helvetica installed on their machine, then those rules will cause the first three heading levels to be rendered using Helvetica. It seems a little gimmicky, but it could have a real impact on reducing stylesheet file size in certain situations.
The tricky part with @font-face is that different browsers of different eras supported different font formats. (To the insider, Table 5-1 reads as a capsule history of downloadable font support.) In order to cover the widest possible landscape, you should turn to what is known as the “Bulletproof @font-face Syntax.” Initially developed by Paul Irish and refined by the folks at FontSpring, it looks like this:
@font-face{font-family:"SwitzeraADF";src:url("SwitzeraADF-Regular.eot");src:url("SwitzeraADF-Regular.eot?#iefix")format("embedded-opentype"),url("SwitzeraADF-Regular.woff")format("woff"),url("SwitzeraADF-Regular.ttf")format("truetype"),url("SwitzeraADF-Regular.svg#switzera_adf_regular")format("svg");}
Let’s break it down piece by piece. The first bit, assigning the font-family name, is straightforward enough. After that, we see:
src:url("SwitzeraADF-Regular.eot");src:url("SwitzeraADF-Regular.eot?#iefix")format("embedded-opentype"),
This supplies an EOT (Embedded OpenType) to browsers that understand only EOTs—IE6 through IE9. The first line is for IE9 when it’s in “Compatibility Mode,” and the second line hands the same file to IE6-IE8. The ?#iefix bit in that line exploits a parsing bug in those browsers to step around another parsing bug that causes them to 404 any @font-face with multiple formats listed. IE9 fixed its bugs without expanding its font formats, so the first line is what lets it join the party:
url("SwitzeraADF-Regular.woff")format("woff"),
This line supplies a Web Open Font Format file to browsers that understand it, which includes most modern browsers. At this point, in fact, you’ll have covered the vast majority of your desktop users.
url("SwitzeraADF-Regular.ttf")format("truetype"),
This line hands over the file format understood by most iOS and Android devices, thus covering most of your handheld users:
url("SwitzeraADF-Regular.svg#switzera_adf_regular")format("svg");
Here, at the end, we supply the only font format understood by old iOS devices. This covers almost all of your remaining handheld users.
This gets a bit unwieldy if you’re specifying more than a couple of faces, and typing it in even once is kind of a pain in the wrists. Fortunately, there are services available that will accept your font faces and generate all the @font-face rules you need, convert those faces to all the formats required, and hand it all back to you as a single package. One of the best is Font Squirrel’s @Font-Face Kit Generator. Just make sure you’re legally able to convert and use the font faces you’re running through the generator (see the next sidebar, “Custom Font Considerations”, for more information).
In addition to the required font-family and src descriptors, there are a number of optional descriptors that can be used to associate font faces with specific font property values. Just as with font-family, these descriptors (summarized in Table 5-2) correspond directly to CSS properties (explained in detail later in this chapter) and affect how user agents respond to the values supplied for those properties.
| Descriptor | Default value | Description |
|---|---|---|
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Distinguishes between normal, italic, and oblique faces |
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Distinguishes between various weights (e.g., bold) |
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Distinguishes between varying degrees of character widths (e.g., condensed and expanded) |
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Distinguishes between a staggeringly wide range of potential variant faces (e.g., small-caps); in most ways, a more “CSS-like” version of |
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Permits direct access to low-level OpenType features (e.g., enabling ligatures) |
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Defines the range of characters for which a given face may be used |
Because these font descriptors are optional, they may not be listed in a @font-face rule, but CSS does not allow descriptors to go without default values any more than it does for properties. If an optional descriptor is omitted, then it is set to the default value. Thus, if font-weight is not listed, the default value of normal is assumed.
There is one font descriptor, unicode-range, which (unlike the others in Table 5-2) has no corresponding CSS property. This descriptor allows authors to define the range of characters to which a custom font can be applied. This can be useful when using a symbol font, or to ensure that a font face is only applied to characters that are in a specific language.
By default, the value of this property covers the entirety of Unicode, meaning that if a font can supply the glyph for a character, it will. Most of the time, this is exactly what you want. For all the other times, you’ll want to use a specific font face for a specific kind of content. To pick two examples from the CSS Fonts Module Level 3:
unicode-range:U+590-5FF;/* Hebrew characters */unicode-range:U+4E00-9FFF,U+FF00-FF9F,U+30??;/* Japanese kanji,hiragana, katakana */
In the first case, a single range is specified, spanning Unicode character code point 590 through code point 5FF. This covers the characters used in Hebrew. Thus, an author might specify a Hebrew font and restrict it to only be used for Hebrew characters, even if the face contains glyphs for other code points:
@font-face{font-family:"CMM-Ahuvah";src:url("cmm-ahuvah.otf"format("opentype");unicode-range:U+590-5FF;}
In the second case, a series of ranges are specified in a comma-separated list to cover all the Japanese characters. The interesting feature there is the U+30?? value, which is a special format permitted in unicode-range values. The question marks are wildcards meaning “any possible digit,” making U+30?? equivalent to U+3000-30FF. The question mark is the only “special” character pattern permitted in the value.
Ranges must always ascend. Any descending range (e.g., U+400-300) is treated as a parsing error and ignored. Besides ranges, you can also declare a single code point, which looks like U+221E. This is most often useful in conjunction with other code points and ranges, like so:
unicode-range:U+4E00-9FFF,U+FF00-FF9F,U+30??,U+A5;/* Japanese kanji, hiragana, and katakana, plus yen/yuan currency symbol*/
You could use a single code point to declare that a specific face only be used to render one, and only one, character. Whether or not that’s a good idea is left to you, your design, the size of the font file, and your users’ connection speeds.
Because @font-face is designed to optimize lazy loading, it’s possible to use unicode-range to download only the font faces a page actually needs. Suppose that you have a website that uses a mixture of English, Russian, and basic mathematical operators, but you don’t know which will appear on any given page. There could be all English, a mixture of Russian and math, and so on. Furthermore, suppose you have special font faces for all three types of content. You can make sure a user agent only downloads the faces it actually needs with a properly-constructed series of @font-face rules:
@font-face{font-family:"MyFont";src:url("myfont-general.otf"format("opentype");}@font-face{font-family:"MyFont";src:url("myfont-cyrillic.otf"format("opentype");unicode-range:U+04??,U+0500-052F,U+2DE0-2DFF,U+A640-A69F,U+1D2B-1D78;}@font-face{font-family:"MyFont";src:url("myfont-math.otf"format("opentype");unicode-range:U+22??;/* equivalent to U+2200-22FF */}
Because the first rule doesn’t specify a Unicode range, it is always downloaded—unless a page happens to contain no characters at all (and maybe even then). The second rule causes myfont-cyrillic.otf to be downloaded only if the page contains characters in its declared Unicode range; the third rule does the same for basic mathematical operators.
Something that might not be immediately obvious is that you can supply multiple descriptors in order to assign specific faces for specific property combinations. For example, you can assign one face to bold text, another to italic text, and a third to text that is both bold and italic.
This is actually implicit in the fact that any undeclared descriptor is assigned its default value. Let’s consider a basic set of three face assignments:
@font-face{font-family:"SwitzeraADF";font-weight:normal;font-style:normal;font-stretch:normal;src:url("SwitzeraADF-Regular.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-weight:bold;font-style:normal;font-stretch:normal;src:url("SwitzeraADF-Bold.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-weight:normal;font-style:italic;font-stretch:normal;src:url("SwitzeraADF-Italic.otf")format("opentype");}
Here, we’ve made the implicit explicit: any time a descriptor isn’t being altered, its default value is listed. This is exactly the same as a set of three rules in which we remove every descriptor that shows a value of normal:
@font-face{font-family:"SwitzeraADF";src:url("SwitzeraADF-Regular.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-weight:bold;src:url("SwitzeraADF-Bold.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-style:italic;src:url("SwitzeraADF-Italic.otf")format("opentype");}
In all three rules, there is no font-stretching beyond the normal amount, and the values of font-weight and font-style vary by which face is being assigned. So what if we want to assign a specific face to unstretched text that’s both bold and italic?
@font-face{font-family:"SwitzeraADF";font-weight:bold;font-style:italic;font-stretch:normal;src:url("SwitzeraADF-BoldItalic.otf")format("opentype");}
And then what about bold, italic, condensed text?
@font-face{font-family:"SwitzeraADF";font-weight:bold;font-style:italic;font-stretch:condensed;src:url("SwitzeraADF-BoldCondItalic.otf")format("opentype");}
How about normal-weight, italic, condensed text?
@font-face{font-family:"SwitzeraADF";font-weight:normal;font-style:italic;font-stretch:condensed;src:url("SwitzeraADF-CondItalic.otf")format("opentype");}
We could keep this up for quite a while, but let’s stop there. If we take all those rules and strip out anything with a normal value, we end up with this result, illustrated in Figure 5-5:
@font-face{font-family:"SwitzeraADF";src:url("SwitzeraADF-Regular.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-weight:bold;src:url("SwitzeraADF-Bold.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-style:italic;src:url("SwitzeraADF-Italic.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-weight:bold;font-style:italic;src:url("SwitzeraADF-BoldItalic.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-weight:bold;font-stretch:condensed;src:url("SwitzeraADF-BoldCond.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-style:italic;font-stretch:condensed;src:url("SwitzeraADF-CondItalic.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-weight:bold;font-style:italic;font-stretch:condensed;src:url("SwitzeraADF-BoldCondItalic.otf")format("opentype");}
As you can see, there are a lot of possible combinations just for those three descriptors—consider that there are 11 possible values for font-weight, and 10 for font-stretch—but you’ll likely never have to run through them all. In fact, most font families don’t have as many faces as SwitzeraADF offers (24 at last count), so there wouldn’t be much point in writing out all the possibilities. Nevertheless, the options are there, and in some cases you may find that you need to assign, say, a specific face for bold condensed text so that the user agent doesn’t try to compute them for you.
Now that we’ve covered @font-face and its descriptors, let’s get back to properties. We’re all used to normal and bold text, at the very least, which are sort of the two most basic font weights available. CSS gives you a lot more control over font weights with the property font-weight.
Generally speaking, the heavier a font weight becomes, the darker and “more bold” a font appears. There are a great many ways to label a heavy font face. For example, the font family known as SwitzeraADF has a number of variants, such as SwitzeraADF Bold, SwitzeraADF Extra Bold, SwitzeraADF Light, and SwitzeraADF Regular. All of these use the same basic font shapes, but each has a different weight.
So let’s say that you want to use SwitzeraADF for a document, but you’d like to make use of all those different heaviness levels. You could refer to them directly through the font-family property, but you really shouldn’t have to do that. Besides, it’s no fun having to write a stylesheet like this:
h1{font-family:'SwitzeraADF Extra Bold, sans-serif;}h2 {font-family: 'SwitzeraADFBold,sans-serif;}h3{font-family:'SwitzeraADF Bold',sans-serif;}h4,p{font-family:SwitzeraADFRegular,sans-serif;}small{font-family:'SwitzeraADF Light',sans-serif;}
That’s pretty tedious. It would make far more sense to specify a single font family for the whole document and then assign different weights to various elements. You can do this via @font-face and use the various values for the property font-weight. This is a fairly simple font-weight declaration:
b{font-weight:bold;}
This declaration says the b element should be displayed using a bold font face; or, to put it another way, a font face that is heavier than the normal font face. This is probably expected behavior, since b does cause text to be bold.
What’s really happening behind the scenes is that a heavier face of the font is used for displaying a b element. Thus, if you have a paragraph displayed using Times, and part of it is bold, then there are really two faces of the same font in use: Times and TimesBold. The regular text is displayed using Times, and the bold text is displayed using TimesBold.
To understand how a user agent determines the heaviness, or weight, of a given font variant (not to mention how weight is inherited), it’s easiest to start by talking about the keywords 100 through 900. These number keywords were defined to map to a relatively common feature of font design in which a font is given nine levels of weight. If a font family has faces for all nine weight levels available, then the numbers are mapped directly to the predefined levels, with 100 as the lightest variant of the font and 900 as the heaviest.
In fact, there is no intrinsic weight in these numbers. The CSS specification says only that each number corresponds to a weight at least as heavy as the number that precedes it. Thus, 100, 200, 300, and 400 might all map to the same relatively lightweight variant; 500 and 600 could correspond to the same heavier font variant; and 700, 800, and 900 could all produce the same very heavy font variant. As long as no keyword corresponds to a variant that is lighter than the variant assigned to the previous keyword, everything will be all right.
As it happens, these numbers are defined to be equivalent to certain common variant names, not to mention other values for font-weight. 400 is defined to be equivalent to normal, and 700 corresponds to bold. The other numbers do not match up with any other values for font-weight, but they can correspond to common variant names. If there is a font variant labeled something such as “Normal,” “Regular,” “Roman,” or “Book,” then it is assigned to the number 400 and any variant with the label “Medium” is assigned to 500. However, if a variant labeled “Medium” is the only variant available, it is assigned to 400 instead of 500.
A user agent has to do even more work if there are fewer than nine weights in a given font family. In this case, it must fill in the gaps in a predetermined way:
If the value 500 is unassigned, it is given the same font weight as that assigned to 400.
If 300 is unassigned, it is given the next variant lighter than 400. If no lighter variant is available, 300 is assigned the same variant as 400. In this case, it will usually be “Normal” or “Medium.” This method is also used for 200 and 100.
If 600 is unassigned, it is given the next variant darker than that assigned for 500. If no darker variant is available, 600 is assigned the same variant as 500. This method is also used for 700, 800, and 900.
To illustrate this weighting scheme more clearly, let’s look at three examples of font weight assignment. In the first example, assume that the font family Karrank% is an OpenType font, so it has nine weights already defined. In this case, the numbers are assigned to each level, and the keywords normal and bold are assigned to the numbers 400 and 700, respectively. This is the most straightforward example, and therefore the one that almost never occurs in the real world. (It is quite rare for a font family to have nine weight levels, and those that do are usually very expensive.)
In our second example, consider the font family SwitzeraADF, which was discussed near the beginning of this section. Hypothetically, its variants might be assigned numeric values for font-weight, as shown in Table 5-3.
| Font face | Assigned keyword | Assigned number(s) |
|---|---|---|
SwitzeraADF Light |
|
|
SwitzeraADF Regular |
|
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SwitzeraADF Medium |
|
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SwitzeraADF Bold |
|
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SwitzeraADF Extra Bold |
|
The first three number values are assigned to the lightest weight. The “Regular” face gets the keyword normal, as expected, and the number weight 400. Since there is a “Medium” font, it’s assigned to the number 500. There is nothing to assign to 600, so it’s mapped to the “Bold” font face, which is also the variant to which 700 and bold are assigned. Finally, 800 and 900 are assigned to the “Black” and “UltraBlack” variants, respectively. Note that this last assignment would happen only if those faces had the top two weight levels already assigned. Otherwise, the user agent might ignore them and assign 800 and 900 to the “Bold” face instead, or it might assign them both to one or the other of the “Black” variants.
For our third and final example, let’s consider a stripped-down version of Times. In Table 5-4, there are only two weight variants: “TimesRegular” and “TimesBold.”
| Font face | Assigned keyword | Assigned numbers |
|---|---|---|
TimesRegular |
|
|
TimesBold |
|
|
The assignment of the keywords normal and bold is to the regular-weight and bold-weight faces, as you might expect. As for the numbers, 100 through 300 are assigned to the “Regular” face because there isn’t a lighter face available. 400 is assigned to “Regular” as expected, but what about 500? It is assigned to the “Regular” (or normal) face because there isn’t a “Medium” face available; thus, it is assigned the same font face as 400. As for the rest, 700 goes with bold as always, while 800 and 900, lacking a heavier face, are assigned to the next-lighter face, which is the “Bold” font face. Finally, 600 is assigned to the next-heavier face, which is the “Bold” face.
font-weight is inherited, so if you set a paragraph to be bold:
p.one{font-weight:bold;}
Then all of its children will inherit that boldness, as we see in Figure 5-6.
This isn’t unusual, but the situation gets interesting when you use the last two values we have to discuss: bolder and lighter. In general terms, these keywords have the effect you’d anticipate: they make text more or less bold compared to its parent’s font weight. First, let’s consider bolder.
If you set an element to have a weight of bolder, then the user agent first must determine what font-weight value was inherited from the parent element. It then selects the lowest number which corresponds to a font weight darker than what was inherited. If none is available, then the user agent sets the element’s font weight to the next numerical value, unless the value is already 900, in which case the weight remains at 900. Thus, you might encounter the following situations, illustrated in Figure 5-7:
p{font-weight:normal;}pem{font-weight:bolder;}/* results in bold text, evaluates to '700' */h1{font-weight:bold;}h1b{font-weight:bolder;}/* if no bolder face exists, evaluates to '800' */div{font-weight:100;}/* assume 'Light' face exists; see explanation */divstrong{font-weight:bolder;}/* results in normal text, weight '400' */
In the first example, the user agent moves up the weight ladder from normal to bold; in numeric terms, it jumps from 400 to 700. In the second example, h1 text is already set to bold. If there is no bolder face available, then the user agent sets the weight of b text within an h1 to 800, since that is the next step up from 700 (the numeric equivalent of bold). Since 800 is assigned to the same font face as 700, there is no visible difference between normal h1 text and bold h1 text, but the weights are different nonetheless.
In the last example, paragraphs are set to be the lightest possible font weight, which we assume exists as a “Light” variant. Furthermore, the other faces in this font family are “Regular” and “Bold.” Any em text within a paragraph will evaluate to normal since that is the next-heaviest face within the font family. However, what if the only faces in the font are “Regular” and “Bold”? In that case, the declarations would evaluate like this:
/* assume only two faces for this example: 'Regular' and 'Bold' */p{font-weight:100;}/* looks the same as 'normal' text */pspan{font-weight:bolder;}/* maps to '700' */
As you can see, the weight 100 is assigned to the normal font face, but the value of font-weight is still 100. Thus, any span text that is descended from a p element will inherit the value of 100 and then evaluate to the next-heavier face, which is the “Bold” face with a numerical weight of 700.
Let’s take this one step further and add two more rules, plus some markup, to illustrate how all of this works (see Figure 5-8 for the results):
/* assume only two faces for this example: 'Regular' and 'Bold' */p{font-weight:100;}/* looks the same as 'normal' text */pspan{font-weight:400;}/* so does this */strong{font-weight:bolder;}/* even bolder than its parent */strongb{font-weight:bolder;}/*bolder still */
<p>This paragraph contains elements of increasing weight: there is a<span>span element that contains a<strong>strongly emphasized element and a<b>bold element</b></strong></span>.</p>
In the last two nested elements, the computed value of font-weight is increased because of the liberal use of the keyword bolder. If you were to replace the text in the paragraph with numbers representing the font-weight of each element, you would get the results shown here:
<p>100<span>400<strong>700<b>800</b></strong></span>.</p>
The first two weight increases are large because they represent jumps from 100 to 400 and from 400 to bold (700). From 700, there is no heavier face, so the user agent moves the value of font-weight one notch up the numeric scale (800). Furthermore, if you were to insert a strong element into the b element, it would come out like this:
<p>100<span>400<strong>700<b>800<strong>900</strong></b></strong></span>.</p>
If there were yet another b element inserted into the innermost strong element, its weight would also be 900, since font-weight can never be higher than 900. Assuming that there are only two font faces available, then the text would appear to be either regular or bold, as you can see in Figure 5-9:
<p>regular<span>regular<strong>bold<b>bold<strong>bold</strong></b></strong></span>.</p>
As you might expect, lighter works in just the same way, except it causes the user agent to move down the weight scale instead of up. With a quick modification of the previous example, you can see this very clearly:
/* assume only two faces for this example: 'Regular' and 'Bold' */
p {font-weight: 900;} /* as bold as possible, which will look 'bold' */
p span {font-weight: 700;} /* this will also be bold */
strong {font-weight: lighter;} /* lighter than its parent */
b {font-weight: lighter;} /* lighter still */
<p>
900 <span> 700 <strong> 400 <b> 300 <strong> 200
</strong> </b> </strong> </span>.
</p>
<!-- ...or, to put it another way... -->
<p>
bold <span> bold <strong> regular <b> regular <strong> regular </strong></b>
</strong></span>.
</p>
Ignoring the fact that this would be entirely counterintuitive, what you see in Figure 5-10 is that the main paragraph text has a weight of 900. When the strong text is set to be lighter, it evaluates to the next-lighter face, which is the regular face, or 400 (the same as normal) on the numeric scale. The next step down is to 300, which is the same as normal since no lighter faces exist. From there, the user agent can reduce the weight only one numeric step at a time until it reaches 100 (which it doesn’t do in the example). The second paragraph shows which text will be bold and which will be regular.
With the font-weight descriptor, authors can assign faces of varying weights to the weighting levels permitted by the font-weight property. For example, the following rules explicitly assign five faces to six different font-weight values:
@font-face{font-family:"SwitzeraADF";font-weight:normal;src:url("f/SwitzeraADF-Regular.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-weight:bold;src:url("f/SwitzeraADF-Bold.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-weight:300;src:url("f/SwitzeraADF-Light.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-weight:500;src:url("f/SwitzeraADF-DemiBold.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-weight:700;src:url("f/SwitzeraADF-Bold.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-weight:900;src:url("f/SwitzeraADF-ExtraBold.otf")format("opentype");}
With these faces assigned, the author now has a number of weighting levels available for his use, as illustrated in Figure 5-11:
h1,h2,h3,h4{font:225%SwitzeraADF,Helvetica,sans-serif;}h1{font-weight:900;}h2{font-size:180%;font-weight:700;}h3{font-size:150%;font-weight:500;}h4{font-size:125%;font-weight:300;}
In any given situation, the user agent picks which face to use depending on the exact value of a font-weight property, using the resolution algorithm detailed in the earlier section, “How Weights Work”. Authors may use any value for the font-weight descriptor that is permitted for the font-weight property except the inherit keyword.
The methods for determining font size are both very familiar and very different.
In a fashion very similar to the font-weight keywords bolder and lighter, the property font-size has relative-size keywords called larger and smaller. Much like what we saw with relative font weights, these keywords cause the computed value of font-size to move up and down a scale of size values, which you’ll need to understand before you can explore larger and smaller. First, though, we need to examine how fonts are sized in the first place.
In fact, the actual relation of the font-size property to what you see rendered is determined by the font’s designer. This relationship is set as an em square (some call it an em box) within the font itself. This em square (and thus the font size) doesn’t have to refer to any boundaries established by the characters in a font. Instead, it refers to the distance between baselines when the font is set without any extra leading (line-height in CSS). It is quite possible for fonts to have characters that are taller than the default distance between baselines. For that matter, a font might be defined such that all of its characters are smaller than its em square, as many fonts do. Some hypothetical examples are shown in Figure 5-12.
Thus, the effect of font-size is to provide a size for the em box of a given font. This does not guarantee that any of the actual displayed characters will be this size.
Having established all of that, we turn now to the absolute-size keywords. There are seven absolute-size values for font-size: xx-small, x-small, small, medium, large, x-large, and xx-large. These are not defined precisely, but are relative to each other, as Figure 5-13 demonstrates:
p.one{font-size:xx-small;}p.two{font-size:x-small;}p.three{font-size:small;}p.four{font-size:medium;}p.five{font-size:large;}p.six{font-size:x-large;}p.seven{font-size:xx-large;}
According to the CSS1 specification, the difference (or scaling factor) between one absolute size and the next is about 1.5 going up the ladder, or 0.66 going down. Thus, if medium is the same as 10px, then large should be the same as 15px. This was later determined to be too large a scaling factor. In CSS2 it was suggested that it be somewhere between 1.0 and 1.2, and in CSS3 drafts a complicated series is provided (for example, small is listed as eight-ninths the size of medium, while xx-small is three-fifths). In all case, the scaling factors are guidelines, as user agents are free to alter them for any reason.
Working from the assumption that medium equals 16px, for different scaling factors, we get the absolute size equivalents shown in Table 5-5. (The values shown are rounded-off integers.)
| Keyword | CSS1 | CSS2 | CSS3 (draft) |
|---|---|---|---|
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Comparatively speaking, the keywords larger and smaller are simple: they cause the size of an element to be shifted up or down the absolute-size scale, relative to their parent element, using the same scaling factor employed to calculate absolute sizes. In other words, if the browser used a scaling factor of 1.2 for absolute sizes, then it should use the same factor when applying relative-size keywords:
p{font-size:medium;}strong,em{font-size:larger;}
<p>This paragraph element contains<strong>a strong-emphasis element which itself contains<em>an emphasis element that also contains<strong>a strong element.</strong></em></strong></p><p>medium<strong>large<em>x-large<strong>xx-large</strong></em></strong></p>
Unlike the relative values for weight, the relative-size values are not necessarily constrained to the limits of the absolute-size range. Thus, a font’s size can be pushed beyond the sizes for xx-small and xx-large. For example:
h1{font-size:xx-large;}em{font-size:larger;}
<h1>A Heading with<em>Emphasis</em>added</h1><p>This paragraph has some<em>emphasis</em>as well.</p>
As you can see in Figure 5-14, the emphasized text in the h1 element is slightly larger than xx-large. The amount of scaling is left up to the user agent, with the scaling factor of 1.2 being preferred but not required. The em text in the paragraph is shifted one slot up the absolute-size scale (large).
User agents are not required to increase or decrease font size beyond the limits of the absolute-size keywords.
In a way, percentage values are very similar to the relative-size keywords. A percentage value is always computed in terms of whatever size is inherited from an element’s parent. Percentages, unlike the size keywords previously discussed, permit much finer control over the computed font size. Consider the following example, illustrated in Figure 5-15:
body{font-size:15px;}p{font-size:12px;}em{font-size:120%;}strong{font-size:135%;}small,.fnote{font-size:70%;}
<body><p>This paragraph contains both<em>emphasis</em>and<strong>strong emphasis</strong>, both of which are larger than their parent element. The<small>small text</small>, on the other hand, is smaller by a quarter.</p><pclass="fnote">This is a 'footnote' and is smaller than regular text.</p><p>12px<em>14.4px</em>12px<strong>16.2px</strong>12px<small>9px</small>12px</p><pclass="fnote">10.5px</p></body>
In this example, the exact pixel size values are shown. These are the values calculated by the browser, regardless of the actual displayed size of the characters onscreen.
Incidentally, CSS defines the length value em to be equivalent to percentage values, in the sense that 1em is the same as 100% when sizing fonts. Thus, the following would yield identical results, assuming that both paragraphs have the same parent element:
p.one{font-size:166%;}p.two{font-size:1.6em;}
When using em measurements, the same principles apply as with percentages, such as the inheritance of computed sizes and so forth.
Figure 5-15 also demonstrates that, although font-size is inherited in CSS, it is the computed values that are inherited, not percentages. Thus, the value inherited by the strong element is 12px, and this value is modified by the declared value 135% to arrive at 16.2px. For the “footnote” paragraph, the percentage is calculated in relation to the font-size value that’s inherited from the body element, which is 15px. Multiplying that value by 75% yields 11.25px.
As with the relative-size keywords, percentages are effectively cumulative. Thus, the following markup is displayed as shown in Figure 5-16:
p{font-size:12px;}em{font-size:120%;}strong{font-size:135%;}
<p>This paragraph contains both<em>emphasis and<strong>strong emphasis</strong></em>, both of which are larger than the paragraph text.</p><p>12px<em>14.4px<strong>19.44px</strong></em>12px</p>
The size value for the strong element shown in Figure 5-16 is computed as follows:
12 px × 120% = 14.4 px
14.4 px × 135% = 19.44 px (possibly rounded to 19 px for display;
see the next section)
The problem of runaway scaling can go the other direction, too. Consider for a moment a document that is nothing but a series of unordered lists, many of them nested inside other lists. Some of these lists are four nested levels deep. Imagine the effect of the following rule on such a document:
ul{font-size:80%;}
Assuming a four-level deep nesting, the most deeply nested unordered list would have a computed font-size value 40.96 percent the size of the parent of the top-level list. Every nested list would have a font size 80 percent as big as its parent list, causing each level to become harder and harder to read.
In most modern browsers, while fractional font-size values are maintained internally, they are not always used by rendering engines. For example, study the letterforms in Figure 5-17.
In all cases, the O characters increase by 0.1 pixels in size as you go from left to right. Thus, the leftmost O has a font-size of 10px, the one at the midpoint has a size of 10.5px, and the one on the right is 11px.
As Figure 5-17 reveals, different browser/OS combinations yield different results. For example, Opera, Safari, and Chrome for macOS show an abrupt jump from 10 pixels to 11 pixels at the 10.5px position. Internet Explorer and Firefox for Windows (both 7 and 8) do the same. Firefox for macOS, on the other hand, looks like it has a smooth line of same-size text. In fact, the characters are all being drawn subtly differently, thanks to their subtly different font-size values. It’s hard to see without squinting (or a ruler), but the fact that it’s hard to tell there is an increase in size from one end of the line to the other is evidence enough.
Nevertheless, every browser will yield up the same subpixel font-size values if you use an inspector or query the value directly via DOM scripting. The third O from the right will show a computed value of 10.8px, regardless of the size of the character displayed onscreen.
There’s an interesting wrinkle to font size keywords and inheritance that becomes apparent when you look at what some browsers do with monospace text (e.g., Courier). Consider the following, illustrated in Figure 5-18:
p{font-size:medium;}/* the default value */span{font-family:monospace;font-size:1em;}
<p>This is a 'p' with a<span>'span'</span>inside.</p>
The default value of medium is generally resolved to 16px, assuming the user hasn’t changed the browser preferences (where the default text sizes are set). Indeed, if you query the paragraph text outside the span, inspectors will tell you that the computed font-size of the text is 16px (again, assuming the user hasn’t changed the preferences).
So you might expect the monospaced span to also have 16-pixel text. That’s exactly the case in some browsers; but in others, it will be 13px.
The reason for this is that while the computed font-size of the paragraph is 16px, the keyword medium is what’s passed down through inheritance. Thus, the span starts out with font-size: medium. As a result, it looks to the user’s preference settings to determine the proper size, and most browsers are set to a 13px default size for all monospace text. This causes them to display 13-pixel monospace text in a 16-pixel parent, even though the monospace text was explicitly set to font-size: 1em.
The effect carries through even with font sizes other than 1em (or 100%); in the following case, the monospace text will have a computed size of 26px instead of 32px (once more assuming the browser defaults have not changed):
p{font-size:medium;}/* the default value */span{font-family:monospace;font-size:2em;}
<p>This is a 'p' with a<span>'span'</span>inside.</p>
Note that not all browsers actually do this: some override the medium sizing assumptions in favor of scaling off the computed font-size of the parent. This leads to inconsistent text display across browsers.
As it happens, there is a way to work around this problem that works for all known browsers, at least as of late 2017. It goes like this:
p{font-size:medium;}/* the default value */span{font-family:monospace,serif;font-size:1em;}
<p>This is a 'p' with a<span>'span'</span>inside.</p>
See the extra serif in the font-family there? That somehow triggers a switch that makes all browsers treat font-size: 1em as being 100 percent of the paragraph’s computed font-size, not a medium-derived value. This is cross-browser-consistent and illustrated in Figure 5-19.
The font-size can be set using any length value. All of the following font-size declarations should be equivalent:
p.one{font-size:36pt;}p.two{font-size:3pc;}p.three{font-size:0.5in;}p.four{font-size:1.27cm;}p.five{font-size:12.7mm;}
The display in Figure 5-20 assumes that the user agent knows how many dots per inch are used in the display medium. Different user agents make different assumptions—some based on the operating system, some based on preferences settings, and some based on the assumptions of the programmer who wrote the user agent. Nevertheless, the five lines should always have the same font size. Thus, while the result may not exactly match reality (for example, the actual size of p.three may not be half an inch), the measurements should all be consistent with one another.
There is one more value that is potentially the same as those shown in Figure 5-20, and that’s 36px, which would be the same physical distance if the display medium is 72 pixels per inch (ppi). However, there are very few monitors with that setting anymore. Most desktop displays are much higher, in the range of 96 ppi to 120 ppi; and mobile devices go much higher, currently in the 300 ppi to 500 ppi range.
Despite these variations between operating systems and devices, many authors choose to use pixel values for font sizes. This approach seems especially attractive when mixing text and raster images (GIF, JPG, PNG, etc.) on a web page, since text can (in theory) be set to the same height as graphic elements on the page by declaring font-size: 11px; or something similar, as illustrated by Figure 5-21.
Using pixel measurements for font-size is certainly one way to get “consistent” results with font-size (and, indeed, with any length at all), but there is a drawback. Not every browser makes it easy (or even possible) to resize text set in pixels, and there are situations where pixel-sized text can be badly sized in mobile devices that pretend to be full-screen devices (such as most versions of the iPhone). For these reasons alone, pixel-sizing text is generally not recommended.
Two of the main factors that influence a font’s legibility are its size and its x-height. The number that results from dividing the x-height by the font-size is referred to as the aspect value. Fonts with higher aspect values tend to be legible as the font’s size is reduced; conversely, fonts with low aspect values become illegible more quickly. CSS provides a way to deal with shifts in aspect values between font families with the property font-size-adjust.
The goal of this property is to preserve legibility when the font used is not the author’s first choice. Because of the differences in font appearance, while one font may be legible at a certain size, another font at the same size is difficult or impossible to read.
A good example is to compare the common fonts Verdana and Times. Consider Figure 5-22 and the following markup, which shows both fonts at a font-size of 10px:
p{font-size:10px;}p.cl1{font-family:Verdana,sans-serif;}p.cl2{font-family:Times,serif;}
The text in Times is much harder to read than the Verdana text. This is partly due to the limitations of pixel-based display, but it is also because Times becomes harder to read at smaller font sizes.
As it turns out, the ratio of x-height to character size in Verdana is 0.58, whereas in Times it is 0.46. What you can do in this case is declare the aspect value of Verdana, and the user agent will adjust the size of the text that’s actually used. This is accomplished using the formula:
font-size × font-size-adjust value ÷ aspect font-sizeSo, in a situation where Times is used instead of Verdana, the adjustment is as follows:
10px × (0.58 ÷ 0.46) = 12.6pxwhich leads to the result shown in Figure 5-23:
p{font:10pxVerdana,sans-serif;font-size-adjust:0.58;}p.cl2{font-family:Times,serif;}
The catch is that to allow a user agent to intelligently make size adjustments, it first has to know the aspect value of the fonts you specify. User agents that support @font-face will be able to pull that information directly from the font file, assuming the files contain the information—any professionally-produced font should, but there’s no guarantee. If a font file doesn’t contain the aspect value, a user agent may try to compute it; but again, there’s no guarantee that they will or even can.
Assuming that the user agent can find or figure out aspect values, the auto value for font-size-adjust is a way of getting the desired effect even if you don’t know the actual aspect value of your first-choice font. For example, given that the user agent can determine that the aspect value of Verdana is 0.58, then the following will have the same result as that shown in Figure 5-23:
p{font:10pxVerdana,sans-serif;font-size-adjust:auto;}p.cl2{font-family:Times,serif;}
Declaring font-size-adjust: none; will suppress any adjustment of font sizes. This is the default state.
font-style is very simple: it’s used to select between normal text, italic text, and oblique text. That’s it! The only complication is in recognizing the difference between italic and oblique text and in understanding why browsers don’t always give you a choice.
The default value of font-style is, as you can see, normal. This refers to upright text, which is probably best described as text that is not italic or otherwise slanted. The vast majority of text in this book is upright, for instance. That leaves only an explanation of the difference between italic and oblique text. For that, it’s easiest to refer to Figure 5-24, which illustrates the differences very clearly.
Basically, italic text is a separate font face, with small changes made to the structure of each letter to account for the altered appearance. This is especially true of serif fonts, where, in addition to the fact that the text characters “lean,” the serifs may be altered in an italic face. Oblique text, on the other hand, is just a slanted version of the normal, upright text. Font faces with labels like “Italic,” “Cursive,” and “Kursiv” are usually mapped to the italic keyword, while oblique is often assigned faces with labels such as “Oblique,” “Slanted,” and “Incline.”
If you want to make sure that a document uses italic text in familiar ways, you could write a stylesheet like this:
p{font-style:normal;}em,i{font-style:italic;}
These styles would make paragraphs use an upright font, as usual, and cause the em and i elements to use an italic font—again, as usual. On the other hand, you might decide that there should be a subtle difference between em and i:
p{font-style:normal;}em{font-style:oblique;}i{font-style:italic;}
If you look closely at Figure 5-25, you’ll see there is no apparent difference between the em and i elements. In practice, not every font is so sophisticated as to have both an italic face and an oblique face, and even fewer web browsers are sophisticated enough to tell the difference when both faces do exist.
If either of these is the case, then there are a few things that can happen. If there is no Italic face available, but there is an Oblique face, then the latter can be used for the former. If the situation is reversed—an Italic face exists, but there is no defined Oblique face—the user agent may not substitute the former for the latter, according to the specification. Finally, the user agent can simply generate the oblique face by computing a slanted version of the upright font. In fact, this is what most often happens in a digital world, where it’s fairly simple to slant a font using a simple computation.
Furthermore, you may find that in some operating systems, a given font that has been declared as italic may switch from italic to oblique depending on the actual size of the font. The display of Times on a Macintosh running the Classic OS (Mac OS 9), for example, is shown in Figure 5-26, where the only difference is a single pixel in font size.
There isn’t much that can be done about this, unfortunately, except better font handling. Fortunately, modern operating systems such as macOS and Windows XP have very good font rendering technology, and @font-face allows authors to assign specific italic and oblique faces to the respective font-style properties, should they so choose.
Even though italic and oblique text often use the same face, font-style can still be quite useful. For example, it is a common typographic convention that a block quote should be italicized, but that any specially emphasized text within the quote should be upright. To employ this effect, which is illustrated in Figure 5-27, you would use these styles:
blockquote{font-style:italic;}blockquoteem,blockquotei{font-style:normal;}
A related property tells the user agent whether it’s allowed to synthesize its own bold or italic faces when a family doesn’t contain them.
As a descriptor, font-style lets an author link specific faces to specific font-style values.
@font-face{font-family:"SwitzeraADF";font-style:normal;src:url("SwitzeraADF-Regular.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-style:italic;src:url("SwitzeraADF-Italic.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-style:oblique;src:url("SwitzeraADF-Italic.otf")format("opentype");}
Given the above, the result of the following rules would be to render h2 and h3 elements using “SwitzeraADF-Italic” instead of “SwitzeraADF-Regular,” as illustrated in Figure 5-28:
h1,h2,h3{font:225%SwitzeraADF,Helvetica,sans-serif;}h2{font-size:180%;font-style:italic;}h3{font-size:150%;font-style:oblique;}
Ideally, if there were a SwitzeraADF face with an oblique typeface, the author could point to it instead of the italic variant. There isn’t such a face, though, so the author mapped the italic face to both the italic and oblique values. As with font-weight, the font-style descriptor can take all of the values of the font-style property except for inherit.
In some font families, there are a number of variant faces that have wider or narrower letterforms. These often take names like “Condensed,” “Wide,” “Ultra Expanded,” and so on. The utility of such variants is that a designer can use a single font family while also having skinny and fat variants. CSS provides a property that allows an author to select among such variants, when they exist, without having to explicitly define them in font-family declarations. It does this via the somewhat misleadingly named font-stretch.
You might expect from the property name that this will stretch or squeeze a font like saltwater taffy, but that’s actually not the case at all. As the value names imply, this property instead behaves very much like the absolute-size keywords (e.g., xx-large) for the font-size property, with a range of absolute values that (in theory) let the author alter a font’s width. For example, an author might decide to stress the text in a strongly emphasized element by changing the font characters to a wider face than their parent element’s font characters.
The catch is that this property only works if the font family in use has defined wider and narrower faces, which most do not (and those that do are usually very expensive). Thus this property is actually very different from font-size, which can change the size of any font face at any time. In contrast, declaring font-stretch: expanded will only have an effect if the font in use has an expanded face available. If it doesn’t, then nothing will happen: the font’s face will not change.
For example, consider the very common font Verdana, which has only one width face; this is equivalent to font-stretch: normal. Declaring the following will have no effect on the width of the displayed text:
body{font-family:Verdana;}strong{font-stretch:extra-expanded;}footer{font-stretch:extra-condensed;}
All of the text will be at Verdana’s usual width. However, if the font family is changed to one that has a number of width faces, such as Futura, then things will be different, as shown in Figure 5-29:
body{font-family:Verdana;}strong{font-stretch:extra-expanded;}footer{font-stretch:extra-condensed;}
As of late 2017, Safari for both macOS and iOS did not support font-stretch, nor did Opera Mini.
Much as with the font-weight descriptor, the font-stretch descriptor allows authors to explicitly assign faces of varying widths to the width values permitted in the font-stretch property. For example, the following rules explicitly assign three faces to the most directly analogous font-stretch values:
@font-face{font-family:"SwitzeraADF";font-stretch:normal;src:url("SwitzeraADF-Regular.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-stretch:condensed;src:url("SwitzeraADF-Cond.otf")format("opentype");}@font-face{font-family:"SwitzeraADF";font-stretch:expanded;src:url("SwitzeraADF-Ext.otf")format("opentype");}
In a parallel to what we saw in previous sections, the author can call on these different width faces through the font-stretch property, as illustrated in Figure 5-30:
h1,h2,h3{font:225%SwitzeraADF,Helvetica,sans-serif;}h2{font-size:180%;font-stretch:condensed;}h3{font-size:150%;font-stretch:expanded;}
As before, the font-stretch descriptor can take all of the values of the font-stretch property except for inherit.
Some fonts contain data regarding how characters should be spaced relative to each other, known as kerning. This spacing can vary depending on how characters are combined; for example, the character pair oc may have a different spacing than the pair ox. Similarly, AB and AW may have different separation distances, to the point that in some fonts, the top-right tip of the W is actually placed to the left of the bottom-right tip of the A. This kerning data can be explicitly called for or suppressed using the property font-kerning.
The value none is pretty simple: it tells the user agent to ignore any kerning information in the font. normal tells the user agent to kern the text normally; that is, according to the kerning data contained in the font. auto tells the user agent to do whatever it thinks best, possibly depending on the type of font in use. The OpenType specification, for example, recommends (but does not require) that kerning be applied whenever the font supports it. If a font does not contain kerning data, font-kerning will have no effect.
Beyond font weights, font styles, and so forth, there are font variants. These are embedded within a font face and can cover things like various styles of historical ligatures, small-caps presentation, ways of presenting fractions, the spacing of numbers, whether zeroes get slashes through them, and much more. CSS lets authors invoke these variants, when they exist, through font-variant.
That’s quite a Values (Level 3) entry, isn’t it? Especially when the only values in CSS1 and CSS2 were the default of normal, which describes ordinary text, and small-caps, which calls for the use of small-caps text. Let’s concentrate just on those for a moment.
Instead of upper- and lowercase letters, a small-caps font employs uppercase letters of different sizes. Thus, you might see something like that shown in Figure 5-31:
h1{font-variant:small-caps;}h1code,p{font-variant:normal;}
<h1>The Uses of<code>font-variant</code>On the Web</h1><p>The property<code>font-variant</code>is very interesting...</p>
As you may notice, in the display of the h1 element, there is a larger uppercase letter wherever an uppercase letter appears in the source and a small uppercase letter wherever there is a lowercase letter in the source. This is very similar to text-transform: uppercase, with the only real difference being that, here, the uppercase letters are of different sizes. However, the reason that small-caps is declared using a font property is that some fonts have a specific small-caps face, which a font property is used to select.
What happens if no such face exists? There are two options provided in the specification. The first is for the user agent to create a small-caps face by scaling uppercase letters on its own. The second is to make all letters uppercase and the same size, exactly as if the declaration text-transform: uppercase; had been used instead. This is not an ideal solution, but it is permitted.
Now to examine that Values (Level 3) line. It is admittedly complicated, but there’s an easy way to explain it. It’s actually a shorthand for all the values permitted for the following properties:
font-variant-ligatures
font-variant-caps
font-variant-numeric
font-variant-alternates
font-variant-east-asian
As an example (to pick one of the simpler ones), <common-lig-values> comes from the property font-variant-ligatures, and can be either common-ligatures or no-common-ligatures. <numeric-fraction-values> comes from font-variant-numeric and can be either diagonal-fractions or stacked-fractions. And so on.
There are two barriers to the use of these admittedly much more powerful font variants: browser support and font support. The first is easy: as of late 2017, there isn’t widespread support for enabling font variants. Certainly you can use the CSS 2.1 variant values, but many of the Level 3 values are only supported by Gecko and WebKit.
The second is also easy while also being complex: not every font supports every variant. For example, most Latin fonts won’t support any of the East Asian variants; for another, not every font will include support for, say, some of the numeric and ligature variants. To find out what a given font supports, you have to consult its documentation, or do a lot of testing if no documentation is available. (Most commercial fonts do come with documentation, and most free fonts don’t.)
The main thing to keep in mind is that even if a variant works in a given browser for one font, it may not for another; and just because a font has a given variant, that doesn’t mean that all browsers will let you invoke it. So it’s complicated, and there aren’t many detailed guides to help out.
The various font-variant-* properties are not covered in detail here because as of late 2017, they were not well supported in browsers. For more details, see http://w3.org/TR/css3-fonts/.
The font-variant descriptor lets you decide which of a font face’s variants can or cannot be used, specified as a space-separated list. For example, you can enable the common ligature, small caps, and slashed-zeroes variants like so:
font-variant:common-ligaturessmall-capsslashed-zero;
You’ll no doubt have guessed by now that the font-variant descriptor can take all of the values of the font-variant property except for inherit.
Note that this descriptor is very different than the other descriptors we’ve seen so far. With the font-stretch descriptor, for example, you can assign a specific font face to a given font-stretch property value. The font-variant descriptor, by contrast, defines which variants are permitted for the font face being declared in the @font-face rule, which can easily negate font variant values called for in properties later on. For example, given the following, paragraphs will not be displayed using a diagonal-fractions or small-caps variant, even if such variants exist in SwitzeraADF:
@font-face{font-family:"SwitzeraADF";font-weight:normal;src:url("SwitzeraADF-Regular.otf")format("opentype");font-variant:stacked-fractionstitling-capsslashed-zero;}p{font:small-caps1emSwitzeraADF,sans-serif;font-variant-numeric:diagonal-fractions;}
In a manner similar to font-variant, the font-feature-settings descriptor allows authors to exercise low-level control over which OpenType font features are available for use (so don’t go using this descriptor on .woff files).
You can list one or more comma-separated OpenType features, as defined by the OpenType specification. For example, enabling common ligatures, small caps, and slashed zeroes would look something like this:
font-feature-settings:"liga"on,"smcp"on,"zero"on;
The exact format of a <feature-tag-value> value is:
<string> [ <integer> | on | off ]?
For many features, the only permitted integer values are 0 and 1, which are equivalent to off and on (and vice versa). There are some features that allow a range of numbers, however, in which case values greater than 1 both enable the feature and define the feature’s selection index. If a feature is listed but no number is provided, 1 (on) is assumed. Thus, the following descriptors are all equivalent:
font-feature-settings:"liga";/* 1 is assumed */font-feature-settings:"liga"1;/* 1 is declared */font-feature-settings:"liga"on;/* on = 1 */
Remember that all <string> values must be quoted. Thus, the first of the following descriptors will be recognized, but the second will be ignored:
font-feature-settings:"liga",dlig;/* common ligatures are enabled; we wanted discretionary ligatures, but forgotquotes */
A further restriction is that OpenType requires that all feature tags be four ASCII characters long. Any feature name longer or shorter, or that uses non-ASCII characters, is invalid and will be ignored. (This isn’t something you personally need to worry about unless you’re using a font that has it own made-up feature names and the font’s creator didn’t follow the naming rules.)
By default, OpenType fonts always have the following features enabled unless the author explicitly disables them via font-feature-settings or font-variant:
caltContextual alternates
ccmpComposed characters
cligContextual ligatures
ligaStandard ligatures
loclLocalized forms
markMark to base positioning
mkmkMark to mark positioning
rligRequired ligatures
Additionally, other features may be enabled by default in specific situations, such as vertical alternatives (vert) for vertical runs of text.
A complete list of standard OpenType feature names can be found at microsoft.com/typography/otspec/featurelist.htm.
The font-feature-settings descriptor lets you decide which of an OpenType font face’s settings can or cannot be used, specified as a space-separated list.
Now, hold up a second—isn’t that almost exactly what we did with font-variant just a few paragraphs ago? As a matter of fact, yes, it is. The font-variant descriptor covers nearly everything font-feature-settings does, plus a little more besides. It just does so in a more CSS-like way, with value names instead of cryptic OpenType identifiers and Boolean toggles. Because of this, the CSS specification explicitly encourages authors to use font-variant instead of font-feature-settings, except in those cases where there’s a font feature that the value list of font-variant doesn’t include.
Keep in mind that this descriptor merely makes features available for use (or suppresses their use). It does not actually turn them on for the display of text; for that, see the section on the font-feature-settings property.
Just as with the font-variant descriptor, the font-feature-settings descriptor defines which font features are permitted for the font face being declared in the @font-face rule. This can easily negate font feature values called for in properties later on. For example, given the following, paragraphs will not be displayed using alternative fractions nor small-caps, even if such features exist in SwitzeraADF:
@font-face{font-family:"SwitzeraADF";font-weight:normal;src:url("SwitzeraADF-Regular.otf")format("opentype");font-feature-settings:"afrc"off,"smcp"off;}p{font:1emSwitzeraADF,sans-serif;font-feature-settings:"afrc","smcp";}
As always, the font-feature-settings descriptor can take all of the values of the font-feature-settings property except for inherit.
It is sometimes the case that a given font family will lack alternate faces for things like bold or italic text. In such situations, the user agent may attempt to synthesize a face from the faces it has available, but this can lead to unattractive letterforms. To address this, CSS offers font-synthesis, which lets authors say how much synthesis they will or won’t permit in the rendering of a page.
In many user agents, a font family that has no bold face can have one computed for it. This might be done by adding pixels to either side of each character glyph, for example. While this might seem useful, it can lead to results that are visually unappealing. This is why most font families actually have bold faces included: the font’s designer wanted to make sure that bolded text in that font looked good.
Similarly, a font family that lacks an italic face can have one synthesized by simply slanting the characters in the normal face. This tends to look even worse than synthesized bold faces, particularly when it comes to serif fonts. Compare the difference between a synthesized italic version of Georgia (which we’re calling “oblique” here) and the actual italic face included in Georgia, illustrated in Figure 5-32.
In supporting user agents, declaring font-synthesis: none blocks the user agent from doing any such synthesis for the affected elements. You can block it for the whole document with html {font-synthesis: none;}, for example. The downside is that any attempts to bold or italicize text using a font that doesn’t offer the appropriate faces will stay unbolded or unitalicized. The upside is that you don’t have to worry about a user agent trying to synthesize those variants and doing a poor job of it.
All of these properties are very sophisticated, but using them all could get a little tedious:
h1{font-family:Verdana,Helvetica,Arial,sans-serif;font-size:30px;font-weight:900;font-style:italic;font-variant:small-caps;}h2{font-family:Verdana,Helvetica,Arial,sans-serif;font-size:24px;font-weight:bold;font-style:italic;font-variant:normal;}
Some of this problem could be solved by grouping selectors, but wouldn’t it be easier to combine everything into a single property? Enter font, which is the shorthand property for all the other font properties (and a little more besides).
Generally speaking, a font declaration can have any one value from each of the listed font properties, or else a system font value (described in “Using System Fonts”). Therefore, the preceding example could be shortened as follows (and have exactly the same effect, as illustrated by Figure 5-33):
h1{font:italic900small-caps30pxVerdana,Helvetica,Arial,sans-serif;}h2{font:boldnormalitalic24pxVerdana,Helvetica,Arial,sans-serif;}
I say that the styles “could be” shortened in this way because there are a few other possibilities, thanks to the relatively loose way in which font can be written. If you look closely at the preceding example, you’ll see that the first three values don’t occur in the same order. In the h1 rule, the first three values are the values for font-style, font-weight, and font-variant, in that order. In the second, they’re ordered font-weight, font-variant, and font-style. There is nothing wrong here because these three can be written in any order. Furthermore, if any of them has a value of normal, that can be left out altogether. Therefore, the following rules are equivalent to the previous example:
h1{font:italic900small-caps30pxVerdana,Helvetica,Arial,sans-serif;}h2{font:bolditalic24pxVerdana,Helvetica,Arial,sans-serif;}
In this example, the value of normal was left out of the h2 rule, but the effect is exactly the same as in the preceding example.
It’s important to realize, however, that this free-for-all situation applies only to the first three values of font. The last two are much stricter in their behavior. Not only must font-size and font-family appear in that order as the last two values in the declaration, but both must always be present in a font declaration. Period, end of story. If either is left out, then the entire rule will be invalidated and very likely to be ignored completely by a user agent. Thus, the following rules will get you the result shown in Figure 5-34:
h1{font:normalnormalitalic30pxsans-serif;}/* no problem here */h2{font:1.5emsans-serif;}/* also fine; omitted values set to 'normal' */h3{font:sans-serif;}/* INVALID--no 'font-size' provided */h4{font:lighter14px;}/* INVALID--no 'font-family' provided */
So far, we’ve treated font as though it has only five values, which isn’t quite true. It is also possible to set the value of the property line-height using font, despite that fact that line-height is a text property (not covered in this text), not a font property. It’s done as a sort of addition to the font-size value, separated from it by a forward slash (/):
body{font-size:12px;}h2{font:bolditalic200%/1.2Verdana,Helvetica,Arial,sans-serif;}
These rules, demonstrated in Figure 5-35, set all h2 elements to be bold and italic (using face for one of the sans-serif font families), set the font-size to 24px (twice the body’s size), and set the line-height to 28.8px.
This addition of a value for line-height is entirely optional, just as the first three font values are. If you do include a line-height, remember that the font-size always comes before line-height, never after, and the two are always separated by a slash.
This may seem repetitive, but it’s one of the most common errors made by CSS authors, so I can’t say it enough: the required values for font are font-size and font-family, in that order. Everything else is strictly optional.
It is important to remember that font, being a shorthand property, can act in unexpected ways if you are careless with its use. Consider the following rules, which are illustrated in Figure 5-36:
h1,h2,h3{font:italicsmall-caps250%sans-serif;}h2{font:200%sans-serif;}h3{font-size:150%;}
<h1>This is an h1 element</h1><h2>This is an h2 element</h2><h3>This is an h3 element</h3>
Did you notice that the h2 element is neither italicized nor small-capped, and that none of the elements are bold? This is the correct behavior. When the shorthand property font is used, any omitted values are reset to their defaults. Thus, the previous example could be written as follows and still be exactly equivalent:
h1,h2,h3{font:italicnormalsmall-caps250%sans-serif;}h2{font:normalnormalnormal200%sans-serif;}h3{font-size:150%;}
This sets the h2 element’s font style and variant to normal, and the font-weight of all three elements to normal. This is the expected behavior of shorthand properties. The h3 does not suffer the same fate as the h2 because you used the property font-size, which is not a shorthand property and therefore affects only its own value.
In situations where you want to make a web page blend in with the user’s operating system, the system font values of font come in handy. These are used to take the font size, family, weight, style, and variant of elements of the operating system, and apply them to an element. The values are as follows:
captionUsed for captioned controls, such as buttons
iconUsed to label icons
menuUsed in menus—that is, drop-down menus and menu lists
message-boxUsed in dialog boxes
small-captionUsed for labeling small controls
status-barUsed in window status bars
For example, you might want to set the font of a button to be the same as that of the buttons found in the operating system. For example:
button{font:caption;}
With these values, it is possible to create web-based applications that look very much like applications native to the user’s operating system.
Note that system fonts may only be set as a whole; that is, the font family, size, weight, style, etc., are all set together. Therefore, the button text from our previous example will look exactly the same as button text in the operating system, whether or not the size matches any of the content around the button. You can, however, alter the individual values once the system font has been set. Thus, the following rule will make sure the button’s font is the same size as its parent element’s font:
button{font:caption;font-size:1em;}
If you call for a system font and no such font exists on the user’s machine, the user agent may try to find an approximation, such as reducing the size of the caption font to arrive at the small-caption font. If no such approximation is possible, then the user agent should use a default font of its own. If it can find a system font but can’t read all of its values, then it should use the default value. For example, a user agent may be able to find a status-bar font but not get any information about whether the font is small-caps. In that case, the user agent will use the value normal for the small-caps property.
As we’ve seen, CSS allows for the matching of font families, weights, and variants. This is all accomplished through font matching, which is a vaguely complicated procedure. Understanding it is important for authors who want to help user agents make good font selections when displaying their documents. I left it for the end of the chapter because it’s not really necessary to understand how the font properties work, and some readers will probably want to skip this part. If you’re still interested, here’s how font matching works:
The user agent creates, or otherwise accesses, a database of font properties. This database lists the various CSS properties of all of the fonts to which the user agent has access. Typically, this will be all fonts installed on the machine, although there could be others (for example, the user agent could have its own built-in fonts). If the user agent encounters two identical fonts, it will just ignore one of them.
The user agent takes apart an element to which font properties have been applied and constructs a list of font properties necessary for the display of that element. Based on that list, the user agent makes an initial choice of a font family to use in displaying the element. If there is a complete match, then the user agent can use that font. Otherwise, it needs to do a little more work.
A font is first matched against the font-stretch property.
A font is next matched against the font-style property. The keyword italic is matched by any font that is labeled as either “italic” or “oblique.” If neither is available, then the match fails.
The next match is to font-weight, which can never fail thanks to the way font-weight is handled in CSS (explained in the earlier section, “How Weights Work”).
Then, font-size is tackled. This must be matched within a certain tolerance, but that tolerance is defined by the user agent. Thus, one user agent might allow matching within a 20 percent margin of error, whereas another might allow only 10 percent differences between the size specified and the size that is actually used.
If there was no font match in Step 2, the user agent looks for alternate fonts within the same font family. If it finds any, then it repeats Step 2 for that font.
Assuming a generic match has been found, but it doesn’t contain everything needed to display a given element—the font is missing the copyright symbol, for instance—then the user agent goes back to Step 3, which entails a search for another alternate font and another trip through Step 2.
Finally, if no match has been made and all alternate fonts have been tried, then the user agent selects the default font for the given generic font family and does the best it can to display the element correctly.
Furthermore, the user agent does the following to resolve handling of font variants and features:
First, check for font features enabled by default, including features required for a given script. The core set of default-enabled features is "calt", "ccmp", "clig", "liga", "locl", "mark", "mkmk", and "rlig".
Then, if the font is defined via an @font-face rule, check for the features implied by the font-variant descriptor in the @font-face rule. Then check for the font features implied by the font-feature-settings descriptor in the @font-face rule.
Then check feature settings determined by properties other than font-variant or font-feature-settings. (For example, setting a non-default value for the letter-spacing property will disable ligatures.)
Then check for features implied by the value of the font-variant property, the related font-variant subproperties (e.g., font-variant-ligatures), and any other property that may call for the use of OpenType features (e.g., font-kerning).
Finally, check for the features implied by the value of font-feature-settings property.
The whole process is long and tedious, but it helps to understand how user agents pick the fonts they do. For example, you might specify the use of Times or any other serif font in a document:
body{font-family:Times,serif;}
For each element, the user agent should examine the characters in that element and determine whether Times can provide characters to match. In most cases, it can do so with no problem. Assume, however, that a Chinese character has been placed in the middle of a paragraph. Times has nothing that can match this character, so the user agent has to work around the character or look for another font that can fulfill the needs of displaying that element. Any Western font is highly unlikely to contain Chinese characters, but should one exist (let’s call it AsiaTimes), the user agent could use it in the display of that one element—or simply for the single character. Thus, the whole paragraph might be displayed using AsiaTimes, or everything in the paragraph might be in Times except for the single Chinese character, which is displayed in AsiaTimes.
From what was initially a very simplistic set of font properties, CSS has rapidly grown to allow fine-grained and wide-ranging influence over how fonts are displayed on the web. From custom fonts downloaded over the web to custom-built families assembled out of a variety of individual faces, authors may be fairly said to overflow with font power.
The typographic options available to authors today are far stronger than ever, but always remember: you must use this power wisely. While you can have 17 different fonts in use on your site, that definitely doesn’t mean that you should. Quite aside from the aesthetic difficulties this could present for your users, it would also make the total page weight much, much higher than it needs to be. As with any other aspect of web design, authors are advised to use their power wisely, not wildly.
Sure, a lot of web design involves picking the right colors and getting the coolest look for your pages, but when it comes right down to it, you probably spend more of your time worrying about where text will go and how it will look. Such concerns gave rise to HTML tags such as <FONT> and <CENTER> in the web’s early days, which allowed you some measure of control over the appearance and placement of text.
Because text is so important, there are many CSS properties that affect it in one way or another. What is the difference between text and fonts? At the simplest level, text is the content, and fonts are used to display that content. Using text properties, you can affect the position of text in relation to the rest of the line, superscript it, underline it, and change the capitalization. You can even simulate, to a limited degree, the use of a typewriter’s Tab key.
Let’s start with a discussion of how you can affect the inline positioning of text within a line. Think of these basic actions as the same types of steps you might take to create a newsletter or write a report.
First, however, let’s take a moment to talk about the terms inline and block as they’ll be used in this chapter. In fact, let’s take them in reverse. If your primary language is Western-derived, then you’re used to a block direction of top to bottom, and an inline direction of left to right. Let’s examine those terms more closely.
The block direction is the direction in which block elements are placed by default in the current writing mode. In English, for example, the block direction is top to bottom, or vertical, as one paragraph (or other text element) is placed beneath the one before.
The inline direction is the direction in which inline elements are written within a block. To again take English as an example, the inline direction is left to right, or horizontal. In languages like Arabic and Hebrew, the inline direction is right to left instead.
Let’s reconsider English for a moment. A plain page of English text, displayed on a screen, has a vertical block direction and a horizontal inline direction. But if the page is rotated 90 degrees anticlockwise using CSS Transforms, then suddenly the block direction is horizontal and the inline direction is vertical. (And bottom to top, at that.)
This approach to content and layout is relatively new as of 2017, and a conversion from the old layout language, which was highly dependent on concepts of “horizontal” and “vertical,” is still underway. While the rest of the chapter will try to use the terms “block direction” and “inline direction,” please forgive any lapses into “vertical” and “horizontal.”
Most books we read in Western languages format paragraphs of text with the first line indented, and no blank line between paragraphs. Some sites used to create the illusion of indented text by placing a small transparent image before the first letter in a paragraph, which shoved the text over. Thanks to CSS, there’s a much better way to indent text: text-indent.
Using text-indent, the first line of any element can be indented by a given length, even if that length is negative. A common use for this property is to indent the first line of a paragraph:
p{text-indent:3em;}
This rule will cause the first line of any paragraph to be indented three ems, as shown in Figure 6-1.
In general, you can apply text-indent to any element that generates a block box, and the indentation will occur along the inline direction. You can’t apply it to inline elements or on replaced elements such as images. However, if you have an image within the first line of a block-level element, it will be shifted over with the rest of the text in the line.
If you want to “indent” the first line of an inline element, you can create the effect with left padding or margin.
You can also set negative values for text-indent, a technique that leads to a number of interesting effects. The most common use is a hanging indent, where the first line hangs out to one side of the rest of the element:
p{text-indent:−4em;}
Be careful when setting a negative value for text-indent; the first few words may be chopped off by the edge of the browser window if you aren’t careful. To avoid display problems, I recommend you use a margin or some padding to accommodate the negative indentation:
p{text-indent:−4em;padding-left:4em;}
Negative indents can, however, be used to your advantage. Consider the following example, demonstrated in Figure 6-2, which adds a floated image to the mix:
p.hang{text-indent:−25px;}
<imgsrc="star.gif"style="width: 60px; height: 60px;float: left;"alt="An image of a five-pointed star."/><pclass="hang">This paragraph has a negatively indented first line, which overlaps the floated image that precedes the text. Subsequent lines do not overlap the image, since they are not indented in any way.</p>
A variety of interesting designs can be achieved using this simple technique.
This specific effect, of trying to make text wrap along the edge of a floated image, is more robustly managed with CSS Float Shapes. See Chapter 10 for details.
Any unit of length, including percentage values, may be used with text-indent. In the following case, the percentage refers to the width of the parent element of the element being indented. In other words, if you set the indent value to 10%, the first line of an affected element will be indented by 10 percent of its parent element’s width, as shown in Figure 6-3:
div{width:400px;}p{text-indent:10%;}
<div><p>This paragraph is contained inside a DIV, which is 400px wide, so the first line of the paragraph is indented 40px (400 * 10% = 40). This is because percentages are computed with respect to the width of the element.</p></div>
Note that this indentation only applies to the first line of an element, even if you insert line breaks. The interesting part about text-indent is that because it’s inherited, it can have unexpected effects. For example, consider the following markup, which is illustrated in Figure 6-4:
div#outer{width:500px;}div#inner{text-indent:10%;}p{width:200px;}
<divid="outer"><divid="inner">This first line of the DIV is indented by 50 pixels.<p>This paragraph is 200px wide, and the first line of the paragraph is indented 50px. This is because computed values for 'text-indent' are inherited, instead of the declared values.</p></div></div>
Even more basic than text-indent is the property text-align, which affects how the lines of text in an element are aligned with respect to one another.
The quickest way to understand how these values work is to examine Figure 6-5, which sticks with three most widely supported values for the moment.
The values left, right, and center cause the text within elements to be aligned exactly as described. Because text-align applies only to block-level elements, such as paragraphs, there’s no way to center an anchor within its line without aligning the rest of the line (nor would you want to, since that would likely cause text overlap).
Historically, which is to say under CSS 2.1 rules, the default value of text-align is left in left-to-right languages, and right in right-to-left languages. (CSS 2.1 had no notion of vertical writing modes.) In CSS3, left and right are mapped to the start or end edge, respectively, of a vertical language. This is illustrated in Figure 6-6.
As you no doubt expect, center causes each line of text to be centered within the element. Although you may be tempted to believe that text-align: center is the same as the <CENTER> element, it’s actually quite different. <CENTER> affected not only text, but also centered whole elements, such as tables. text-align does not control the alignment of elements, only their inline content. Figures 6-5 and 6-6 illustrate this clearly in various writing directions.
CSS3 (which is to say, the CSS Text Module Level 3 specification) added a number of new values to text-align, and even changed the default property value as compared to CSS 2.1.
The new default value of start means that the text is aligned to the start edge of its line box. In left-to-right languages like English, that’s the left edge; in right-to-left languages such as Arabic, it’s the right edge. In vertical languages, for that matter, it will be the top or bottom, depending on the writing direction. The upshot is that the default value is much more aware of the document’s language direction while leaving the default behavior the same in the vast majority of existing cases.
In a like manner, end aligns text with the end edge of each line box—the right edge in LTR languages, the left edge in RTL languages, and so forth. The effects of these values are shown in Figure 6-7.
An often-overlooked alignment value is justify, which raises some issues of its own. In justified text, both ends of a line of text are placed at the inner edges of the parent element, as Figure 6-8 shows. Then, the spacing between words and letters is adjusted so that each line is precisely the same length. Justified text is common in the print world (for example, in this book), but under CSS, a few extra considerations come into play.
The user agent—and not CSS, at least as of late 2017—determines how justified text should be stretched to fill the space between the left and right edges of the parent. Some browsers, for example, might add extra space only between words, while others might distribute the extra space between letters (although the CSS specification states that “user agents may not further increase or decrease the inter-character space” if the property letter-spacing has been assigned a length value). Other user agents may reduce space on some lines, thus mashing the text together a bit more than usual. All of these possibilities will affect the appearance of an element, and may even change its height, depending on how many lines of text result from the user agent’s justification choices.
There’s one more value to be covered, which is match-parent. This isn’t supported by browsers, but its intent is mostly covered by inherit anyway. The idea is, if you declare text-align: match-parent, the alignment of the element will match the alignment of its parent.
So far, that sounds exactly like inherit, but there’s a difference: if the parent’s alignment value is start or end, the result of match-parent is to assign a computed value of left or right to the element. That wouldn’t happen with inherit, which would apply start or end to the element with no changes.
There may be times when you want to align the text in the very last line of an element differently than you did the rest of the content. For example, you might left-align the last line of an otherwise fully justified block of text, or choose to swap from left to center alignment. For those situations, there is text-align-last.
As with text-align, the quickest way to understand how these values work is to examine Figure 6-9.
As the figure shows, the last lines of the elements are aligned independently of the rest of the elements, according to the elements’ text-align-last values.
A close study of Figure 6-9 will reveal that there’s more at play than just the last lines of block-level elements. In fact, text-align-last applies to any line of text that immediately precedes a forced line break, whether or not said line break is triggered by the end of an element. Thus, a line break occasioned by a <br> tag will make the line of text immediately before that break use the value of text-align-last. So too will it affect the last line of text in a block-level element, since a line break is generated by the element’s closure.
There’s an interesting wrinkle in text-align-last: if the first line of text in an element is also the last line of text in the element, then the value of text-align-last takes precedence over the value of text-align. Thus, the following styles will result in a centered paragraph, not a start-aligned paragraph:
p{text-align:start;text-align-last:center;}
<p>A paragraph.</p>
Now that we’ve covered alignment along the inline direction, let’s move on to the vertical alignment of inline elements along the block direction—things like superscripting and “vertical alignment,” as it’s called. (Vertical with respect to the line of text, if the text is laid out horizontally.) Since the construction of lines is a very complex topic that merits its own small book, I’ll just stick to a quick overview here.
The distance between lines can be affected by changing the “height” of a line. Note that “height” here is with respect to the line of text itself, assuming that the longer axis of a line is “width” even if it’s written vertically. The property names we cover from here will reveal a strong bias toward Western languages and their writing directions; this is an artifact of the early days of CSS, when Western languages were the only ones that could be easily represented.
The line-height property refers to the distance between the baselines of lines of text rather than the size of the font, and it determines the amount by which the height of each element’s box is increased or decreased. In the most basic cases, specifying line-height is a way to increase (or decrease) the vertical space between lines of text, but this is a misleadingly simple way of looking at how line-height works. line-height controls the leading, which is the extra space between lines of text above and beyond the font’s size. In other words, the difference between the value of line-height and the size of the font is the leading.
When applied to a block-level element, line-height defines the minimum distance between text baselines within that element. Note that it defines a minimum, not an absolute value, and baselines of text can wind up being pushed further apart than the value of line-height. line-height does not affect layout for replaced elements, but it still applies to them.
Every element in a line of text generates a content area, which is determined by the size of the font. This content area in turn generates an inline box that is, in the absence of any other factors, exactly equal to the content area. The leading generated by line-height is one of the factors that increases or decreases the height of each inline box.
To determine the leading for a given element, subtract the computed value of font-size from the computed value of line-height. That value is the total amount of leading. And remember, it can be a negative number. The leading is then divided in half, and each half-leading is applied to the top and bottom of the content area. The result is the inline box for that element.
As an example, let’s say the font-size (and therefore the content area) is 14 pixels tall, and the line-height is computed to 18 pixels. The difference (4 pixels) is divided in half, and each half is applied to the top and bottom of the content area. This creates an inline box that is 18 pixels tall, with 2 extra pixels above and below the content area. This sounds like a roundabout way to describe how line-height works, but there are excellent reasons for the description.
Once all of the inline boxes have been generated for a given line of content, they are then considered in the construction of the line box. A line box is exactly as tall as needed to enclose the top of the tallest inline box and the bottom of the lowest inline box. Figure 6-10 shows a diagram of this process.
Let’s now consider the possible values of line-height. If you use the default value of normal, the user agent must calculate the space between lines. Values can vary by user agent, but they’re generally around 1.2 times the size of the font, which makes line boxes taller than the value of font-size for a given element.
Many values are simple length measures (e.g., 18px or 2em), but raw <number> values are preferable in many situations. Be aware that even if you use a valid length measurement, such as 4cm, the browser (or the operating system) may be using an incorrect metric for real-world measurements, so the line height may not show up as exactly four centimeters on your monitor.
em, ex, and percentage values are calculated with respect to the font-size of the element. The results of the following CSS and HTML are shown in Figure 6-11:
body{line-height:18px;font-size:16px;}p.cl1{line-height:1.5em;}p.cl2{font-size:10px;line-height:150%;}p.cl3{line-height:0.33in;}
<p>This paragraph inherits a 'line-height' of 18px from the body, as well as a 'font-size' of 16px.</p><pclass="cl1">This paragraph has a 'line-height' of 27px(18 * 1.5), so it will have slightly more line-height than usual.</p><pclass="cl2">This paragraph has a 'line-height' of 15px (10 * 150%), so it will have slightly more line-height than usual.</p><pclass="cl3">This paragraph has a 'line-height' of 0.33in, so it will have slightly more line-height than usual.</p>
When the line-height is inherited by one block-level element from another, things get a bit trickier. line-height values inherit from the parent element as computed from the parent, not the child. The results of the following markup are shown in Figure 6-12. It probably wasn’t what the author had in mind:
body{font-size:10px;}div{line-height:1em;}/* computes to '10px' */p{font-size:18px;}
<div><p>This paragraph's 'font-size' is 18px, but the inherited 'line-height' value is only 10px. This may cause the lines of text to overlap each other by a small amount.</p></div>
Why are the lines so close together? Because the computed line-height value of 10px was inherited by the paragraph from its parent div. One solution to the small line-height problem depicted in Figure 6-12 is to set an explicit line-height for every element, but that’s not very practical. A better alternative is to specify a number, which actually sets a scaling factor:
body{font-size:10px;}div{line-height:1;}p{font-size:18px;}
When you specify a number, you cause the scaling factor to be an inherited value instead of a computed value. The number will be applied to the element and all of its child elements so that each element has a line-height calculated with respect to its own font-size (see Figure 6-13):
div{line-height:1.5;}p{font-size:18px;}
<div><p>This paragraph's 'font-size' is 18px, and since the 'line-height' set for the parent div is 1.5, the 'line-height' for this paragraph is 27px (18 * 1.5).</p></div>
Though it seems like line-height distributes extra space both above and below each line of text, it actually adds (or subtracts) a certain amount from the top and bottom of an inline element’s content area to create an inline box. Assume that the default font-size of a paragraph is 12pt and consider the following:
p{line-height:16pt;}
Since the “inherent” line height of 12-point text is 12 points, the preceding rule will place an extra 4 points of space around each line of text in the paragraph. This extra amount is divided in two, with half going above each line and the other half below. You now have 16 points between the baselines, which is an indirect result of how the extra space is apportioned.
If you specify the value inherit, then the element will use the computed value for its parent element. This isn’t really any different than allowing the value to inherit naturally, except in terms of specificity and cascade resolution.
Now that you have a basic grasp of how lines are constructed, let’s talk about “vertically” aligning elements relative to the line box—that is, displacing them along the block direction.
If you’ve ever used the elements sup and sub (the superscript and subscript elements), or used an image with markup such as <img src="foo.gif" align="middle">, then you’ve done some rudimentary vertical alignment. In CSS, the vertical-align property applies only to inline elements and replaced elements such as images and form inputs. vertical-align is not an inherited property.
Because of the property name vertical-align, this section will use the terms “vertical” and “horizontal” to refer to the block and inline directions of the text.
vertical-align accepts any one of eight keywords, a percentage value, or a length value. The keywords are a mix of the familiar and unfamiliar: baseline (the default value), sub, super, bottom, text-bottom, middle, top, and text-top. We’ll examine how each keyword works in relation to inline elements.
Remember: vertical-align does not affect the alignment of content within a block-level element. You can, however, use it to affect the vertical alignment of elements within table cells.
vertical-align: baseline forces the baseline of an element to align with the baseline of its parent. Browsers, for the most part, do this anyway, since you’d probably expect the bottoms of all text elements in a line to be aligned.
If a vertically aligned element doesn’t have a baseline—that is, if it’s an image, a form input, or another replaced element—then the bottom of the element is aligned with the baseline of its parent, as Figure 6-14 shows:
img{vertical-align:baseline;}
<p>The image found in this paragraph<imgsrc="dot.gif"alt="A dot"/>has its bottom edge aligned with the baseline of the text in the paragraph.</p>
This alignment rule is important because it causes some web browsers to always put a replaced element’s bottom edge on the baseline, even if there is no other text in the line. For example, let’s say you have an image in a table cell all by itself. The image may actually be on a baseline, but in some browsers, the space below the baseline causes a gap to appear beneath the image. Other browsers will “shrink-wrap” the image with the table cell, and no gap will appear. The gap behavior is correct, despite its lack of appeal to most authors.
See the aged and yet still relevant article “Images, Tables, and Mysterious Gaps” for a more detailed explanation of gap behavior and ways to work around it.
The declaration vertical-align: sub causes an element to be subscripted, meaning that its baseline (or bottom, if it’s a replaced element) is lowered with respect to its parent’s baseline. The specification doesn’t define the distance the element is lowered, so it may vary depending on the user agent.
super is the opposite of sub; it raises the element’s baseline (or bottom of a replaced element) with respect to the parent’s baseline. Again, the distance the text is raised depends on the user agent.
Note that the values sub and super do not change the element’s font size, so subscripted or superscripted text will not become smaller (or larger). Instead, any text in the sub- or superscripted element should be, by default, the same size as text in the parent element, as illustrated by Figure 6-15:
span.raise{vertical-align:super;}span.lower{vertical-align:sub;}
<p>This paragraph contains<spanclass="raise">superscripted</span>and<spanclass="lower">subscripted</span>text.</P>
If you wish to make super- or subscripted text smaller than the text of its parent element, you can do so using the property font-size.
vertical-align: bottom aligns the bottom of the element’s inline box with the bottom of the line box. For example, the following markup results in Figure 6-16:
.feeder{vertical-align:bottom;}
<p>This paragraph, as you can see quite clearly, contains a<imgsrc="tall.gif"alt="tall"class="feeder"/>image and a<imgsrc="short.gif"alt="short"class="feeder"/>image, and then some text which is not tall.</p>
The second line of the paragraph in Figure 6-16 contains two inline elements, whose bottom edges are aligned with each other. They’re also below the baseline of the text.
vertical-align: text-bottom refers to the bottom of the text in the line. For the purposes of this value, replaced elements, or any other kinds of non-text elements, are ignored. Instead, a “default” text box is considered. This default box is derived from the font-size of the parent element. The bottom of the aligned element’s inline box is then aligned with the bottom of the default text box. Thus, given the following markup, you get a result like the one shown in Figure 6-17:
img.tbot{vertical-align:text-bottom;}
<p>Here: a<imgsrc="tall.gif"style="vertical-align: middle;"alt="tall"/>image, and then a<imgsrc="short.gif"class="tbot"alt="short"/>image.</p>
Employing vertical-align: top has the opposite effect of bottom. Likewise, vertical-align: text-top is the reverse of text-bottom. Figure 6-18 shows how the following markup would be rendered:
.up{vertical-align:top;}.textup{vertical-align:text-top;}
<p>Here: a<imgsrc="tall.gif"alt="tall image">tall image, and then<spanclass="up">some text</span>that's been vertically aligned.</p><p>Here: a<imgsrc="tall.gif"class="textup"alt="tall">image that's been vertically aligned, and then a<imgsrc="short.gif"class="textup"alt="short"/>image that's similarly aligned.</p>
The exact position of this alignment will depend on which elements are in the line, how tall they are, and the size of the parent element’s font.
There’s the value middle, which is usually (but not always) applied to images. It does not have the exact effect you might assume given its name. middle aligns the middle of an inline element’s box with a point that is 0.5ex above the baseline of the parent element, where 1ex is defined relative to the font-size for the parent element. Figure 6-19 shows this in more detail.
Since most user agents treat 1ex as one-half em, middle usually aligns the vertical midpoint of an element with a point one-quarter em above the parent’s baseline, though this is not a defined distance and so can vary from one user agent to another.
Percentages don’t let you simulate align="middle" for images. Instead, setting a percentage value for vertical-align raises or lowers the baseline of the element (or the bottom edge of a replaced element) by the amount declared, with respect to the parent’s baseline. (The percentage you specify is calculated as a percentage of line-height for the element, not its parent.) Positive percentage values raise the element, and negative values lower it. Depending on how the text is raised or lowered, it can appear to be placed in adjacent lines, as shown in Figure 6-20, so take care when using percentage values:
sub{vertical-align:−100%;}sup{vertical-align:100%;}
<p>We can either<sup>soar to new heights</sup>or, instead,<sub>sink into despair...</sub></p>
Let’s consider percentage values in more detail. Assume the following:
<divstyle="font-size: 14px; line-height: 18px;">I felt that, if nothing else, I deserved a<spanstyle="vertical-align: 50%;">raise</span>for my efforts.</div>
The 50%-aligned span element has its baseline raised nine pixels, which is half of the element’s inherited line-height value of 18px, not the seven pixels that would be half the font-size.
Finally, let’s consider vertical alignment with a specific length. vertical-align is very basic: it shifts an element up or down by the declared distance. Thus, vertical-align: 5px; will shift an element upward five pixels from its unaligned placement. Negative length values shift the element downward. This simple form of alignment did not exist in CSS1, but it was added in CSS2.
It’s important to realize that vertically aligned text does not become part of another line, nor does it overlap text in other lines. Consider Figure 6-21, in which some vertically aligned text appears in the middle of a paragraph.
As you can see, any vertically aligned element can affect the height of the line. Recall the description of a line box, which is exactly as tall as necessary to enclose the top of the tallest inline box and the bottom of the lowest inline box. This includes inline boxes that have been shifted up or down by vertical alignment.
Now that we’ve dealt with vertical alignment of inline elements, let’s return to the inline direction for a look at manipulating word and letter spacing. As usual, these properties have some nonintuitive issues.
The word-spacing property accepts a positive or negative length. This length is added to the standard space between words. In effect, word-spacing is used to modify inter-word spacing. Therefore, the default value of normal is the same as setting a value of zero (0).
If you supply a positive length value, then the space between words will increase. Setting a negative value for word-spacing brings words closer together:
p.spread{word-spacing:0.5em;}p.tight{word-spacing:−0.5em;}p.base{word-spacing:normal;}p.norm{word-spacing:0;}
<pclass="spread">The spaces between words in this paragraph will be increased by 0.5em.</p><pclass="tight">The spaces between words in this paragraph will be decreased by 0.5em.</p><pclass="base">The spaces between words in this paragraph will be normal.</p><pclass="norm">The spaces between words in this paragraph will be normal.</p>
Manipulating these settings has the effect shown in Figure 6-22.
So far, I haven’t actually given you a precise definition of “word.” In the simplest CSS terms, a “word” is any string of non-whitespace characters that is surrounded by whitespace of some kind. This definition has no real semantic meaning; it simply assumes that a document contains words, each of which is surrounded by one or more whitespace characters. A CSS-aware user agent cannot be expected to decide what is a valid word in a given language and what isn’t. This definition, such as it is, means word-spacing is unlikely to work in any languages that employ pictographs, or non-Roman writing styles. The property allows you to create very unreadable documents, as Figure 6-23 makes clear. Use word-spacing with care.
Many of the issues you encounter with word-spacing also occur with letter-spacing. The only real difference between the two is that letter-spacing modifies the space between characters or letters.
As with the word-spacing property, the permitted values of letter-spacing include any length. The default keyword is normal (making it the same as letter-spacing: 0). Any length value you enter will increase or decrease the space between letters by that amount. Figure 6-24 shows the results of the following markup:
p{letter-spacing:0;}/* identical to 'normal' */p.spacious{letter-spacing:0.25em;}p.tight{letter-spacing:−0.25em;}
<p>The letters in this paragraph are spaced as normal.</p><pclass="spacious">The letters in this paragraph are spread out a bit.</p><pclass="tight">The letters in this paragraph are a bit smashed together.</p>
Using letter-spacing to increase emphasis is a time-honored technique. You might write the following declaration and get an effect like the one shown in Figure 6-25:
strong{letter-spacing:0.2em;}
<p>This paragraph contains<strong>strongly emphasized text</strong>which is spread out for extra emphasis.</p>
The value of word-spacing may be influenced by the value of the property text-align. If an element is justified, the spaces between letters and words may be altered to fit the text along the full width of the line. This may in turn alter the spacing declared by the author with word-spacing. If a length value is assigned to letter-spacing, then it cannot be changed by text-align; but if the value of letter-spacing is normal, then inter-character spacing may be changed to justify the text. CSS does not specify how the spacing should be calculated, so user agents fill it in with their own algorithms.
Note that the computed value is inherited, so child elements with larger or smaller text will have the same letter spacing as their parent element. You cannot define a scaling factor for word-spacing or letter-spacing to be inherited in place of the computed value (as is the case with line-height). As a result, you may run into problems such as those shown in Figure 6-26:
p{letter-spacing:0.25em;font-size:20px;}small{font-size:50%;}
<p>This spacious paragraph features<small>tiny text that is just as spacious</small>, even though the author probably wanted the spacing to be in proportion to the size of the text.</p>
The only way to achieve letter spacing that’s in proportion to the size of the text is to set it explicitly, as follows:
p{letter-spacing:0.25em;}small{font-size:50%;letter-spacing:0.25em;}
With the alignment properties covered, let’s look at ways to manipulate the capitalization of text using the property text-transform.
The default value none leaves the text alone and uses whatever capitalization exists in the source document. As their names imply, uppercase and lowercase convert text into all upper- or lowercase characters. Finally, capitalize capitalizes only the first letter of each word. Figure 6-27 illustrates each of these settings in a variety of ways:
h1{text-transform:capitalize;}strong{text-transform:uppercase;}p.cummings{text-transform:lowercase;}p.raw{text-transform:none;}
<h1>The heading-one at the beginninG</h1><p>By default, text is displayed in the capitalization it has in the source document, but<strong>it is possible to change this</strong>using the property 'text-transform'.</p><pclass="cummings">For example, one could Create TEXT such as might have been Written by the late Poet e.e.cummings.</p><pclass="raw">If you feel the need to Explicitly Declare the transformation of text to be 'none', that can be done as well.</p>
Different user agents may have different ways of deciding where words begin and, as a result, which letters are capitalized. For example, the text “heading-one” in the h1 element, shown in Figure 6-27, could be rendered in one of two ways: “Heading-one” or “Heading-One.” CSS does not say which is correct, so either is possible.
You probably also noticed that the last letter in the h1 element in Figure 6-27 is still uppercase. This is correct: when applying a text-transform of capitalize, CSS only requires user agents to make sure the first letter of each word is capitalized. They can ignore the rest of the word.
As a property, text-transform may seem minor, but it’s very useful if you suddenly decide to capitalize all your h1 elements. Instead of individually changing the content of all your h1 elements, you can just use text-transform to make the change for you:
h1{text-transform:uppercase;}
<h1>This is an H1 element</h1>
The advantages of using text-transform are twofold. First, you only need to write a single rule to make this change, rather than changing the h1 itself. Second, if you decide later to switch from all capitals back to initial capitals, the change is even easier, as Figure 6-28 shows:
h1{text-transform:capitalize;}
<h1>This is an H1 element</h1>
Remember that capitalize is a simple letter substitution at the beginning of each “word.” It does not mean that common headline-capitalization conventions, such as leaving articles (“a,” “an,” “the”) all lowercase, will be enforced.
Next we come to text-decoration, which is a fascinating property that offers a truckload of interesting behaviors.
As you might expect, underline causes an element to be underlined, just like the U element in ancient HTML. overline causes the opposite effect—drawing a line across the top of the text. The value line-through draws a line straight through the middle of the text, which is also known as strikethrough text and is equivalent to the S and strike elements in HTML. blink causes the text to blink on and off, just like the much-maligned blink tag supported by Netscape. Figure 6-29 shows examples of each of these values:
p.one{text-decoration:underline;}p.two{text-decoration:overline;}p.three{text-decoration:line-through;}p.four{text-decoration:blink;}p.five{text-decoration:none;}
It’s impossible to show the effect of blink in print, but it’s easy enough to imagine (perhaps all too easy). Incidentally, user agents are not required to actually blink blink text; and as of this writing, all known user agents were dropping or had dropped support for the blinking effect. (Internet Explorer never had it.)
The value none turns off any decoration that might otherwise have been applied to an element. Usually, undecorated text is the default appearance, but not always. For example, links are usually underlined by default. If you want to suppress the underlining of hyperlinks, you can use the following CSS rule to do so:
a{text-decoration:none;}
If you explicitly turn off link underlining with this sort of rule, the only visual difference between the anchors and normal text will be their color (at least by default, though there’s no ironclad guarantee that there will be a difference in their colors).
Bear in mind that many users are annoyed when they realize you’ve turned off link underlining. It’s a matter of opinion, so let your own tastes be your guide, but remember: if your link colors aren’t sufficiently different from normal text, users may have a hard time finding hyperlinks in your documents, particularly users with one form or another of color blindness.
You can also combine decorations in a single rule. If you want all hyperlinks to be both underlined and overlined, the rule is:
a:link,a:visited{text-decoration:underlineoverline;}
Be careful, though: if you have two different decorations matched to the same element, the value of the rule that wins out will completely replace the value of the loser. Consider:
h2.stricken{text-decoration:line-through;}h2{text-decoration:underlineoverline;}
Given these rules, any h2 element with a class of stricken will have only a line-through decoration. The underline and overline decorations are lost, since shorthand values replace one another instead of accumulating.
Now, let’s look into the unusual side of text-decoration. The first oddity is that text-decoration is not inherited. No inheritance implies that any decoration lines drawn with the text—under, over, or through it—will be the same color as the parent element. This is true even if the descendant elements are a different color, as depicted in Figure 6-30:
p{text-decoration:underline;color:black;}strong{color:gray;}
<p>This paragraph, which is black and has a black underline, also contains<strong>strongly emphasized text</strong>which has the black underline beneath it as well.</p>
Why is this so? Because the value of text-decoration is not inherited, the strong element assumes a default value of none. Therefore, the strong element has no underline. Now, there is very clearly a line under the strong element, so it seems silly to say that it has none. Nevertheless, it doesn’t. What you see under the strong element is the paragraph’s underline, which is effectively “spanning” the strong element. You can see it more clearly if you alter the styles for the boldface element, like this:
p{text-decoration:underline;color:black;}strong{color:gray;text-decoration:none;}
<p>This paragraph, which is black and has a black underline, also contains<strong>strongly emphasized text</strong>which has the black underline beneath it as well.</p>
The result is identical to the one shown in Figure 6-30, since all you’ve done is to explicitly declare what was already the case. In other words, there is no way to turn off underlining (or overlining or a line-through) generated by a parent element.
When text-decoration is combined with vertical-align, even stranger things can happen. Figure 6-31 shows one of these oddities. Since the sup element has no decoration of its own, but it is elevated within an overlined element, the overline cuts through the middle of the sup element:
p{text-decoration:overline;font-size:12pt;}sup{vertical-align:50%;font-size:12pt;}
By now you may be vowing never to use text decorations because of all the problems they could create. In fact, I’ve given you the simplest possible outcomes since we’ve explored only the way things should work according to the specification. In reality, some web browsers do turn off underlining in child elements, even though they aren’t supposed to. The reason browsers violate the specification is author expectations. Consider this markup:
p{text-decoration:underline;color:black;}strong{color:silver;text-decoration:none;}
<p>This paragraph, which is black and has a black underline, also contains<strong>boldfaced text</strong>which does not have black underline beneath it.</p>
Figure 6-32 shows the display in a web browser that has switched off the underlining for the strong element.
The caveat here is that many browsers do follow the specification, and future versions of existing browsers (or any other user agents) might one day follow the specification precisely. If you depend on using none to suppress decorations, it’s important to realize that it may come back to haunt you in the future, or even cause you problems in the present. Then again, future versions of CSS may include the means to turn off decorations without using none incorrectly, so maybe there’s hope.
There is a way to change the color of a decoration without violating the specification. As you’ll recall, setting a text decoration on an element means that the entire element has the same color decoration, even if there are child elements of different colors. To match the decoration color with an element, you must explicitly declare its decoration, as follows:
p{text-decoration:underline;color:black;}strong{color:silver;text-decoration:underline;}
<p>This paragraph, which is black and has a black underline, also contains<strong>strongly emphasized text</strong>which has the black underline beneath it as well, but whose gray underline overlays the black underline of its parent.</p>
In Figure 6-33, the strong element is set to be gray and to have an underline. The gray underline visually “overwrites” the parent’s black underline, so the decoration’s color matches the color of the strong element.
A recent addition to CSS is text-rendering, which is actually an SVG property that is nevertheless treated as CSS by supporting user agents. It lets authors indicate what the user agent should prioritize when displaying text.
The values optimizeSpeed and optimizeLegibility are relatively self-explanatory, indicating that drawing speed should be favored over legibility features like kerning and ligatures (for optimizeSpeed) or vice versa (for optimizeLegibility).
The precise legibility features that are used with optimizeLegibility are not explicitly defined, and the text rendering often depends on the operating system on which the user agent is running, so the exact results may vary. Figure 6-34 shows text optimized for speed, and then optimized for legibility.
As you can see in Figure 6-34, the differences between the two optimizations are objectively rather small, but they can have a noticeable impact on readability.
Some user agents will always optimize for legibility, even when optimizing for speed. This is likely an effect of rendering speeds having gotten so fast in the past few years.
The value geometricPrecision, on the other hand, directs the user agent to draw the text as precisely as possible, such that it could be scaled up or down with no loss of fidelity. You might think that this is always the case, but not so. Some fonts change kerning or ligature effects at different text sizes, for example, providing more kerning space at smaller sizes and tightening up the kerning space as the size is increased. With geometricPrecision, those hints are ignored as the text size changes. If it helps, think of it as the user agent drawing the text as though all the text is a series of SVG paths, not font glyphs.
Even by the usual standard of web standards, the value auto is pretty vaguely defined in SVG:
the user agent shall make appropriate tradeoffs to balance speed, legibility and geometric precision, but with legibility given more importance than speed and geometric precision.
That’s it: user agents get to do what they think is appropriate, leaning towards legibility.
Sometimes, you just really need your text to cast a shadow. That’s where text-shadow comes in. The syntax might look a little wacky at first, but it should become clear enough with just a little practice.
The default is to not have a drop shadow for text. Otherwise, it’s possible to define one or more shadows. Each shadow is defined by an optional color and three length values, the last of which is also optional.
The color sets the shadow’s color so it’s possible to define green, purple, or even white shadows. If the color is omitted, the shadow will be the same color as the text.
The first two length values determine the offset distance of the shadow from the text; the first is the horizontal offset and the second is the vertical offset. To define a solid, un-blurred green shadow offset five pixels to the right and half an em down from the text, as shown in Figure 6-35, you would write:
text-shadow:green5px0.5em;
Negative lengths cause the shadow to be offset to the left and upward from the original text. The following, also shown in Figure 6-35, places a light blue shadow five pixels to the left and half an em above the text:
text-shadow:rgb(128,128,255)−5px−0.5em;
The optional third length value defines a blur radius for the shadow. The blur radius is defined as the distance from the shadow’s outline to the edge of the blurring effect. A radius of two pixels would result in blurring that fills the space between the shadow’s outline and the edge of the blurring. The exact blurring method is not defined, so different user agents might employ different effects. As an example, the following styles are rendered as shown in Figure 6-36:
p.cl1{color:black;text-shadow:gray2px2px4px;}p.cl2{color:white;text-shadow:004pxblack;}p.cl3{color:black;text-shadow:1em0.5em5pxred,−0.5em−1emhsla(100,75%,25%,0.33);}
Now that we’ve covered a variety of ways to style the text, let’s talk about the property white-space, which affects the user agent’s handling of space, newline, and tab characters within the document source.
Using this property, you can affect how a browser treats the whitespace between words and lines of text. To a certain extent, default XHTML handling already does this: it collapses any whitespace down to a single space. So given the following markup, the rendering in a web browser would show only one space between each word and ignore the line-feed in the elements:
<p>This paragraph has many spaces in it.</p>
You can explicitly set this default behavior with the following declaration:
p{white-space:normal;}
This rule tells the browser to do as browsers have always done: discard extra whitespace. Given this value, line-feed characters (carriage returns) are converted into spaces, and any sequence of more than one space in a row is converted to a single space.
Should you set white-space to pre, however, the whitespace in an affected element is treated as though the elements were XHTML pre elements; whitespace is not ignored, as shown in Figure 6-37:
p{white-space:pre;}
<p>This paragraph has many spaces in it.</p>
With a white-space value of pre, the browser will pay attention to extra spaces and even carriage returns. In this respect, and in this respect alone, any element can be made to act like a pre element.
The opposite value is nowrap, which prevents text from wrapping within an element, except wherever you use a br element. Using nowrap in CSS is much like setting a table cell not to wrap in HTML 4 with <td nowrap>, except the white-space value can be applied to any element. The effects of the following markup are shown in Figure 6-38:
<pstyle="white-space: nowrap;">This paragraph is not allowed to wrap, which means that the only way to end a line is to insert a line-break element. If no such element is inserted, then the line will go forever, forcing the user to scroll horizontally to read whatever can't be initially displayed<br/>in the browser window.</p>
You can actually use white-space to replace the nowrap attribute on table cells:
td{white-space:nowrap;}
<table><tr><td>The contents of this cell are not wrapped.</td><td>Neither are the contents of this cell.</td><td>Nor this one, or any after it, or any other cell in this table.</td><td>CSS prevents any wrapping from happening.</td></tr></table>
CSS 2.1 introduced the values pre-wrap and pre-line, which were absent in earlier versions of CSS. The effect of these values is to allow authors to better control whitespace handling.
If an element is set to pre-wrap, then text within that element has whitespace sequences preserved, but text lines are wrapped normally. With this value, line-breaks in the source and those that are generated are also honored. pre-line is the opposite of pre-wrap and causes whitespace sequences to collapse as in normal text but honors new lines. For example, consider the following markup, which is illustrated in Figure 6-39:
<pstyle="white-space: pre-wrap;">This paragraph has a great many s p a c e s within its textual content, but their preservation will not prevent line wrapping or line breaking.</p><pstyle="white-space: pre-line;">This paragraph has a great many s p a c e s within its textual content, but their collapse will not prevent line wrapping or line breaking.</p>
Table 6-1 summarizes the behaviors of white-space properties.
| Value | Whitespace | Line feeds | Auto line wrapping |
|---|---|---|---|
|
Collapsed |
Honored |
Allowed |
|
Collapsed |
Ignored |
Allowed |
|
Collapsed |
Ignored |
Prevented |
|
Preserved |
Honored |
Prevented |
|
Preserved |
Honored |
Allowed |
Since whitespace is preserved in some values of white-space, it stands to reason that tabs (i.e., Unicode code point 0009) will be displayed as, well, tabs. But how many spaces should each tab equal? That’s where tab-size comes in.
By default, any tab character will be treated the same as eight spaces in a row, but you can alter that by using a different integer value. Thus, tab-size: 4 will cause each tab to be rendered the same as if it were four spaces in a row.
If a length value is supplied, then each tab is rendered using that length. For example, tab-size: 10px will cause a sequence of three tabs to be rendered as 30 pixels of whitespace. The effects of the following rules is illustrated in Figure 6-40.
Note that tab-size is effectively ignored when the value of white-space causes whitespace to be collapsed (see Table 6-1). The value will still be computed in such cases, but there will be no visible effect no matter how many tabs appear in the source.
Hyphens can be very useful in situations where there are long words and short line lengths, such as blog posts on mobile devices and portions of The Economist. Authors can always insert their own hyphenation hints using the Unicode character U+00AD SOFT HYPHEN (or, in HTML, ), but CSS also offers a way to enable hyphenation without littering up the document with hints.
With the default value of manual, hyphens are only inserted where there are manually-inserted hyphenation markers in the document, such as U+00AD or . Otherwise, no hyphenation occurs. The value none, on the other hand, suppresses any hyphenation, even if manual break markers are present; thus, U+00AD and are ignored.
The far more interesting (and potentially inconsistent) value is auto, which permits the browser to insert hyphens and break words at “appropriate” places inside words, even where no manually inserted hyphenation breaks exist. This leads to interesting questions like what constitutes a “word” and under what circumstances it is appropriate to hyphenate a word, both of which are highly language-dependent. User agents are supposed to prefer manually inserted hyphen breaks to automatically determined breaks, but there are no guarantees. An illustration of hyphenation, or the suppression thereof, in the following example is shown in Figure 6-41:
.cl01{hyphens:auto;}.cl02{hyphens:manual;}.cl03{hyphens:none;}
<pclass="cl01">Supercalifragilisticexpialidocious antidisestablishmentarian ism.</p><pclass="cl02">Supercalifragilisticexpialidocious antidisestablishmentarian ism.</p><pclass="cl02">Supercalifragilisticexpialidocious antidisestablishmentarianism.</p><pclass="cl03">Supercalifragilisticexpialidocious antidisestablishmentarianism.</p>
Because hyphenation is so language-dependent, and because the CSS specification does not define precise (or even vague) rules regarding how user agents should carry out hyphenation, there is every chance that hyphenation will be different from one browser to the next.
Furthermore, if you do choose to hyphenate, be careful about the elements to which you apply the hyphenation. hyphens is an inherited property, so declaring body {hyphens: auto;} will apply hyphenation to everything in your document—including textareas, code samples, block quotes, and so on. Blocking automatic hyphenation at the level of those elements is probably a good idea, using rules something like this:
body{hyphens:auto;}code,var,kbd,samp,tt,dir,listing,plaintext,xmp,abbr,acronym,blockquote,q,textarea,input,option{hyphens:manual;}
It’s probably obvious why suppressing hyphenation in code samples and code blocks is desirable, especially in languages that use hyphens in things like property and value names. (Ahem.) Similar logic holds for keyboard input text—you definitely don’t want a stray dash getting into your Unix command-line examples! And so on down the line. If you decide that you want to hyphenate some of these elements, just remove them from the selector. (It can be kind of fun to watch the text you’re typing into a textarea get auto-hyphenated as you type it.)
As of late 2017, hyphens was supported by all major desktop browsers except Chrome/Blink, and required vendor prefixes in Safari and Edge. As noted, such support is always language-dependent.
Hyphens can be suppressed by the effects of other properties, such as word-break, which affects how soft wrapping of text is calculated in various languages.
When a run of text is too long to fit into a single line, it is soft wrapped. This is in contrast to hard wraps, which are things like line-feed characters and <br> elements. Where the text is soft wrapped is determined by the user agent (or the OS it uses), but word-break lets authors influence its decision-making.
The default value of normal means that text should be wrapped like it always has been. In practical terms, this means that text is broken between words, though the definition of a word varies by language. In Latin-derived languages like English, this is almost always a space between letter sequences (e.g., words). In ideographic languages like Japanese, each symbol is a word, so breaks can occur between any two symbols. In other CJK languages, though, the soft-wrap points may be limited to appear between sequences of symbols that are not space-separated.
Again, that’s all by default, and is the way browsers have handled text for years. If you apply the value break-all, then soft wrapping can (and will) occur between any two characters, even if they are in the middle of a word. With this value, no hyphens are shown, even if the soft wrapping occurs at a hyphenation point (see hyphens, earlier). Note that values of the line-break property (described next) can affect the behavior of break-all in CJK text.
keep-all, on the other hand, suppresses soft wrapping between characters, even in CJK languages where each symbol is a word. Thus, in Japanese, a sequence of symbols with no whitespace will not be soft wrapped, even if this means the text line will exceed the length of its element. (This behavior is similar to white-space: pre.)
Figure 6-42 shows a few examples of word-break values, and Table 6-2 summarizes the effects of each value.
| Value | Non-CJK | CJK | Hyphenation permitted |
|---|---|---|---|
|
As usual |
As usual |
Yes |
|
After any character |
After any character |
No |
|
As usual |
Around sequences |
Yes |
If your interests run to CJK text, then in addition to word-break you will also want to get to know line-break.
As we just saw, word-break can affect how lines of text are soft wrapped in CJK text. The line-break property also affects such soft wrapping, specifically how wrapping is handled around CJK-specific symbols and around non-CJK punctuation (such as exclamation points, hyphens, and ellipses) that appears in text declared to be CJK.
In other words, line-break applies to certain CJK characters all the time, regardless of the content’s declared language. If you throw some CJK characters into a paragraph of English text, line-break will still apply to them, but not to anything else in the text. Conversely, if you declare content to be in a CJK language, line-break will continue to apply to those CJK characters plus a number of non-CJK characters within the CJK text. These include punctuation marks, currency symbols, and a few other symbols.
There is no authoritative list of which characters are affected and which are not, but the specification provides a list of recommended symbols and behaviors around those symbols.
The default value auto allows user agents to soft wrap text as they like, and more importantly lets UAs vary the line breaking they do based on the situation. For example, the UA can use looser line-breaking rules for short lines of text and stricter rules for long lines. In effect, auto allows the user agent to switch between the loose, normal, and strict values as needed, possibly even on a line-by-line basis within a single element.
Doubtless you can infer that those other values have the following general meanings:
looseThis value imposes the “least restrictive” rules for wrapping text, and is meant for use when line lengths are short, such as in newspapers.
normalThis value imposes the “most common” rules for wrapping text. What exactly “most common” means is not precisely defined, though there is the aforementioned list of recommended behaviors.
strictThis value imposes the “most stringent” rules for wrapping text. Again, this is not precisely defined.
After all that information about hyphenation and soft wrapping, what happens when text overflows its container anyway? That’s what overflow-wrap addresses.
This property couldn’t be more straightforward. If the default value of normal is in effect, then wrapping happens as normal; which is to say, between words or as directed by the language. If break-word is in effect, then wrapping can happen in the middle of words. Figure 6-43 illustrates the difference.
Note that overflow-wrap can only operate if the value of white-space allows line wrapping. If it does not (e.g., with the value pre), then overflow-wrap has no effect.
Where overflow-wrap gets complicated is in its history and implementation. Once upon a time there was a property called word-wrap that did exactly what overflow-wrap does. The two are so identical that the specification specifically states that user agents “must treat word-wrap as an alternate name for the overflow-wrap property, as if it were a shorthand of overflow-wrap.”
Sadly, browsers didn’t always do this, and word-wrap was better supported. For this reason, it’s common to use both for backward compatibility:
pre{word-wrap:break-word;overflow-wrap:break-word;}
As of late 2017, overflow-wrap enjoys very widespread supports, so it’s pretty safe to use.
While overflow-wrap: break-word may appear very similar to word-break: break-all, they are not the same thing. To see why, compare the second box in Figure 6-43 to the top middle box in Figure 6-42. As it shows, overflow-wrap only kicks in if content actually overflows; thus, when there is an opportunity to use whitespace in the source to wrap lines, overflow-wrap will take it. By contrast, word-break: break-all will cause wrapping when content reaches the wrapping edge, regardless of any whitespace that comes earlier in the line.
If you’re reading this book in English or any number of other mainly Western languages, then you’re reading the text left to right and top to bottom, which is the flow direction of English. Not every language runs this way. There are many right-to-left and top-to-bottom languages such as Hebrew and Arabic, and many languages that can be written primarily top-to-bottom. Some of the latter are secondarily left to right, such as Chinese and Japanese, whereas others are right to left, like Mongolian.
The property used for specifying one of the three available writing mode is, of all things, writing-mode.
The default value, horizontal-tb, means “a horizontal inline direction, and a top-to-bottom block direction.” This covers all Western and some Middle Eastern languages, which may differ in the direction of their horizontal writing. The other two values offer a vertical inline direction, and either a right-to-left or left-to-right block direction. All three are illustrated in Figure 6-44.
Notice how the lines are strung together in the two vertical examples. If you tilt your head to the right, the text in vertical-rl is at least readable. The text in vertical-lr, on the other hand, is difficult to read because it appears to flow from bottom to top, at least when arranging English text. This is not a problem in languages which actually use vertical-lr flow, such as form of Japanese. As of late 2017, vertical flows can only have the inline direction go from top to bottom.
It is possible to create bottom-to-top vertical flows of Western-language text by applying vertical-rl to an element and then rotating the element 180 degrees with CSS Transforms (see Chapter 16). This presents a bottom-to-top, left-to-right visual flow. Using vertical-lr and rotating it creates a bottom-to-top, right-to-left flow. Both are illustrated in Figure 6-45:
.flip{transform:rotate(180deg);}#one{writing-mode:vertical-rl;}#two{writing-mode:vertical-lr;}
The challenge of working with text like that is that everything is flipped, which means what we see is at odds with what’s actually happening. The text of vertical-rl (vertical-right-to-left) is visually progressing left to right, for example.
The same problem arises when applying inline block-alignment properties such as vertical-align. In vertical writing modes, the block direction is horizontal, which means vertical alignment of inline elements actually causes them to move horizontally. This is illustrated in Figure 6-46.
All the super- and subscript elements cause horizontal shifts, both of themselves and the placement of the lines they occupy, even through the property used to move them is vertical-align. As described earlier, the vertical displacement is with respect to the line box, where the box’s baseline is defined as horizontal—even when it’s being drawn vertically.
Confused? It’s OK. Writing modes are likely to confuse you, because it’s such a different way of thinking and because old assumptions in the CSS specification clash with the new capabilities. If there had been vertical writing modes from the outset, vertical-align would likely have a different name—inline-align or something like that. (Maybe one day that will happen.)
One last note: if you’re already used to CSS Transforms, you might be tempted to think of these vertical writing modes as equivalent to rotating the text 90 degrees. They are not the same, for two reasons. One, this only appears to be the case for vertical-rl; vertical-lr has the look of text that flows “bottom to top.” Two, the cardinal points don’t change when flowing text vertically. The top is still the top, in other words. This is illustrated by the following styles, whose results are depicted in Figure 6-47:
.boxed{border-top:3pxsolidred;border-left:3pxdashedtan;}#one{writing-mode:vertical-rl;}#two{writing-mode:vertical-lr;}
In both cases, the top border is solid red, and the left border is dashed tan. The cardinal points don’t rotate with the text—because the text isn’t rotated. It’s being flowed in a different way.
Now here’s where it gets unusual. While the borders don’t migrate around the element box, margins can, but not due to anything in the CSS specification.
This happens because user agents (at least as of late 2017) maintain internal styles that relate to the start and end of the element in the block direction. In languages that flow top to bottom, then the start and end of the element’s block direction are its top and bottom sides. But in vertical writing, the block direction is right to left or left to right. Thus, you can set up a bunch of paragraphs to flow vertically, and if you leave the margins alone, what would normally be top and bottom margins will become left and right margins. You can see this effect in Figure 6-48, which illustrated the result of the following styles:
p{margin-top:1em;}#one{writing-mode:vertical-rl;}#two{writing-mode:vertical-lr;}
There are the top margins, as declared, right along the tops of the two paragraphs. The empty space to the side of each paragraph is created by the block-start and block-end margins. If we explicitly set the right and left margins to zero, then the space between the paragraphs would be removed.
Remember: this happens because user agents, by default, represent the margins of text elements using properties like block-start-margin (which is not an actual property in CSS, at least not yet). If you explicitly set top, bottom, or side margins using properties like margin-top, then they will be applied to the element box just as borders were: top margin on top, right margin to the right, and so on.
Once you’ve settled on a writing mode, you may decide you want to change the orientation of characters within those lines of text. There are many reasons you might want to do this, not least of which are situations where different writing systems are commingled, such as Japanese text with English words or numbers mixed in. In these cases, text-orientation is the answer.
The effect of text-orientation is to affect how characters are oriented. What that means is best illustrated by the following styles, rendered in Figure 6-49:
.verts{writing-mode:vertical-lr;}#one{text-orientation:mixed;}#two{text-orientation:upright;}#thr{text-orientation:sideways;}
Across the top of Figure 6-49 is a basically unstyled paragraph of mixed Japanese and English text. Below that, three copies of that paragraph, using the writing mode vertical-lr. In the first of the three, text-orientation: mixed, writes the horizontal-script characters (the English) sideways, and the vertical-script characters (the Japanese) upright. In the second, all characters are upright, including the English characters. In the third, all characters are sideways, including the Japanese characters.
Harking back to the days of CSS2, there are a pair of properties that can be used to affect the direction of text by changing the inline baseline direction: direction and unicode-bidi.
The CSS specification explicitly warns against using direction and unicode-bidi in CSS when applied to HTML documents. To quote: “Because HTML [user agents] can turn off CSS styling, we recommend…the HTML dir attribute and <bdo> element to ensure correct bidirectional layout in the absence of a style sheet.” The properties are covered here because they may appear in legacy stylesheets.
The direction property affects the writing direction of text in a block-level element, the direction of table column layout, the direction in which content horizontally overflows its element box, and the position of the last line of a fully justified element. For inline elements, direction applies only if the property unicode-bidi is set to either embed or bidi-override (See the following description of unicode-bidi).
Although ltr is the default, it is expected that if a browser is displaying right-to-left text, the value will be changed to rtl. Thus, a browser might carry an internal rule stating something like the following:
*:lang(ar),*:lang(he){direction:rtl;}
The real rule would be longer and encompass all right-to-left languages, not just Arabic and Hebrew, but it illustrates the point.
While CSS attempts to address writing direction, Unicode has a much more robust method for handling directionality. With the property unicode-bidi, CSS authors can take advantage of some of Unicode’s capabilities.
Here we’ll simply quote the value descriptions from the CSS 2.1 specification, which do a good job of capturing the essence of each value:
normalThe element does not open an additional level of embedding with respect to the bidirectional algorithm. For inline-level elements, implicit reordering works across element boundaries.
embedIf the element is inline-level, this value opens an additional level of embedding with respect to the bidirectional algorithm. The direction of this embedding level is given by the direction property. Inside the element, reordering is done implicitly. This corresponds to adding an LRE (U+202A; for direction: ltr) or an RLE (U+202B; for direction: rtl) at the start of the element and a PDF (U+202C) at the end of the element.
bidi-overrideThis creates an override for inline-level elements. For block-level elements, this creates an override for inline-level descendants not within another block. This means that, inside the element, reordering is strictly in sequence according to the direction property; the implicit part of the bidirectional algorithm is ignored. This corresponds to adding an LRO (U+202D; for direction: ltr) or RLO (U+202E; for direction: rtl) at the start of the element and a PDF (U+202C) at the end of the element.
Even without altering the font face, there are many ways to change the appearance of text. There are classic effects such as underlining, but CSS also enables you to draw lines over text or through it, change the amount of space between words and letters, indent the first line of a paragraph (or other block-level element), align text in various ways, exert influence over the hyphenation and line breaking of text, and much more. You can even alter the amount of space between lines of text. There is also support in CSS for languages other than those that are written left-to-right, top-to-bottom. Given that so much of the web is text, the strength of these properties makes a great deal of sense. Recent developments in improving text legibility and placement are likely only the beginnings of what we will eventually be able to do with text styling.
This chapter is all about the theoretical side of visual rendering in CSS. Why is that necessary? The answer is that with a model as open and powerful as that contained within CSS, no book could hope to cover every possible way of combining properties and effects. You will undoubtedly go on to discover new ways of using CSS. In exploring CSS, you may encounter seemingly strange behaviors in user agents. With a thorough grasp of how the visual rendering model works, you’ll be better able to determine whether a behavior is a correct (if unexpected) consequence of the rendering engine CSS defines.
At its core, CSS assumes that every element generates one or more rectangular boxes, called element boxes. (Future versions of the specification may allow for nonrectangular boxes, and indeed there have been proposals to change this, but for now everything is rectangular.) Each element box has a content area at its center. This content area is surrounded by optional amounts of padding, borders, outlines, and margins. These areas are considered optional because they could all be set to a width of zero, effectively removing them from the element box. An example content area is shown in Figure 7-1, along with the surrounding regions of padding, borders, and margins.
Each of the margins, borders, and the padding can be set using various
side-specific properties, such as margin-left or border-bottom, as
well as shorthand properties such as padding. The outline, if any,
does not have side-specific properties. The content’s background—a color
or tiled image, for example—is applied within the padding by default.
The margins are always transparent, allowing the background(s) of any
parent element(s) to be visible. Padding cannot have a negative length,
but margins can. We’ll explore the effects of negative margins later on.
Borders are generated using defined styles, such as solid or inset,
and their colors are set using the border-color property. If no color
is set, then the border takes on the foreground color of the element’s
content. For example, if the text of a paragraph is white, then any
borders around that paragraph will be white, unless the author explicitly declares a different border
color. If a border style has gaps
of some type, then the element’s background is visible through those
gaps by default. Finally, the width of a border can never be negative.
The various components of an element box can be affected via a number of
properties, such as width or border-right. Many of these properties
will be used in this book, even though they aren’t defined here.
Let’s quickly review the kinds of boxes we’ll be discussing, as well as some important terms that are needed to follow the explanations to come:
This is the left-to-right, top-to-bottom rendering of text in Western languages and the familiar text layout of traditional HTML documents. Note that the flow direction may be changed in non-Western languages. Most elements are in the normal flow, and the only way for an element to leave the normal flow is to be floated, positioned, or made into a flexible box or grid layout element. Remember, the discussions in this chapter cover only elements in the normal flow.
This is an element whose content is contained within the document. For example, a paragraph (p) is a nonreplaced element because its textual content is found within the element itself.
This is an element that serves as a placeholder for something else. The classic example of a replaced element is the img element, which simply points to an image file that is inserted into the document’s flow at the point where the img element itself is found. Most form elements are also replaced (e.g., <input type="radio">).
This is the element at the top of the document tree. In HTML documents, this is the element html. In XML documents, it can be whatever the language permits; for example, the root element of RSS files is rss.
This is a box that an element such as a paragraph, heading, or div generates. These boxes generate “new lines” both before and after their boxes when in the normal flow so that block boxes in the normal flow stack vertically, one after another. Any element can be made to generate a block box by declaring display: block.
This is a box that an element such as strong or span generates. These boxes do not generate “line breaks” before or after themselves. Any element can be made to generate an inline box by declaring display: inline.
This is a box that is like a block box internally, but acts like an inline box externally. It acts similar to, but not quite the same as, a replaced element. Imagine picking up a div and sticking it into a line of text as if it were an inline image, and you’ve got the idea.
There are several other types of boxes, such as table-cell boxes, but they won’t be covered in this book for a variety of reasons—not the least of which is that their complexity demands a book of its own, and very few authors will actually wrestle with them on a regular basis.
There is one more kind of box that we need to examine in detail, and in this case enough detail that it merits its own section: the containing block.
Every element’s box is laid out with respect to its containing block; in a very real way, the containing block is the “layout context” for a box. CSS defines a series of rules for determining a box’s containing block. We’ll cover only those rules that pertain to the concepts covered in this book in order to keep our focus.
For an element in the normal, Western-style flow of text, the containing block forms from the content edge of the nearest ancestor that generated a list item or block box, which includes all table-related boxes (e.g., those generated by table cells). Consider the following markup:
<body><div><p>This is a paragraph.</p></div></body>
In this very simple markup, the containing block for the p element’s
block box is the div element’s block box, as that is the closest
ancestor element box that is a block or a list item (in this case, it’s a
block box). Similarly, the div’s containing block is the body’s box.
Thus, the layout of the p is dependent on the layout of the div,
which is in turn dependent on the layout of the body element.
And above that, the layout of the body element is dependent on the
layout of the html element, whose box creates what is called the
initial containing block. It’s unique in that the viewport—the browser window in screen
media, or the printable area of the page in print media—determines its dimensions, not the
size of the content of the root element. It’s a subtle distinction, and
usually not a very important one, but it does exist.
You can affect the way a user agent displays by setting a value for the
property display. Now that we’ve taken a close look at visual
formatting, let’s consider the display property and discuss two more
of its values using concepts from earlier in the book.
We’ll ignore the ruby- and table-related values, since they’re far too complex for
this chapter, and we’ll also ignore the value list-item, since it’s very
similar to block boxes. We’ve spent quite some time discussing block and
inline boxes, but let’s spend a moment talking about how altering an
element’s display role can alter layout before we look at inline-block.
When it comes to styling a document, it’s handy to be able to
change the type of box an element generates. For example, suppose we
have a series of links in a nav that we’d like to lay out as a
vertical sidebar:
<nav><ahref="index.html">WidgetCo Home</a><ahref="products.html">Products</a><ahref="services.html">Services</a><ahref="fun.html">Widgety Fun!</a><ahref="support.html">Support</a><ahref="about.html"id="current">About Us</a><ahref="contact.html">Contact</a></nav>
We could put all the links into table cells, or wrap each one in its own
nav—or we could just make them all block-level elements, like this:
nava{display:block;}
This will make every a element within the navigation nav a block-level
element. If we add on a few more styles, we could have a result like
that shown in Figure 7-2.
Changing display roles can be useful in cases where you want non-CSS
browsers to get the navigation links as inline elements but to lay out
the same links as block-level elements. With the links as blocks, you
can style them as you would div or p elements, with the advantage
that the entire element box becomes part of the link. Thus, if a user’s
mouse pointer hovers anywhere in the element box, she can then click the
link.
You may also want to take elements and make them inline. Suppose we have an unordered list of names:
<ulid="rollcall"><li>Bob C.</li><li>Marcio G.</li><li>Eric M.</li><li>Kat M.</li><li>Tristan N.</li><li>Arun R.</li><li>Doron R.</li><li>Susie W.</li></ul>
Given this markup, say we want to make the names into a series of inline names with vertical bars between them (and on each end of the list). The only way to do so is to change their display role. The following rules will have the effect shown in Figure 7-3:
#rollcallli{display:inline;border-right:1pxsolid;padding:00.33em;}#rollcallli:first-child{border-left:1pxsolid;}
There are plenty of other ways to use display to your advantage in design. Be creative and see what you can invent!
Be careful to note, however, that you are changing the display role of
elements—not changing their inherent nature. In other words, causing a
paragraph to generate an inline box does not turn that paragraph into
an inline element. In HTML, for example, some elements are block while
others are inline. (Still others are “flow” elements, but we’re ignoring
them right now.) An inline element can be a descendant of a block
element, but the reverse is generally not true. While a span can be placed
inside a paragraph, a span cannot be wrapped around a paragraph.
This will hold true no matter how you style the elements in question. Consider the following markup:
<spanstyle="display: block;"><pstyle="display: inline;">this is wrong!</p></span>
The markup will not validate because the block element (p) is nested
inside an inline element (span). The changing of display roles does
nothing to change this. display has its name because it affects how
the element is displayed, not because it changes what kind of element it
is.
With that said, let’s get into the details of different kinds of boxes: block boxes, inline boxes, inline-block boxes, and list-item boxes.
Block boxes can behave in sometimes predictable, sometimes surprising ways. The handling of box placement along the horizontal and vertical axes can differ, for example. In order to fully understand how block boxes are handled, you must clearly understand a number of boundaries and areas. They are shown in detail in Figure 7-4.
By default, the width of a block box is defined to be the distance
from the left inner edge to the right inner edge, and the height is
the distance from the inner top to the inner bottom. Both of these
properties can be applied to an element generating a block box.
It’s
also the case that we can alter how these properties are treated using
the property box-sizing.
This property is how you change what the width and height values
actually do. If you declare width: 400px and don’t declare a value for
box-sizing, then the element’s content box will be 400 pixels wide;
any padding, borders, and so on will be added to it. If, on the other
hand, you declare box-sizing: border-box, then the element box will be 400 pixels
from the left outer border edge to the right outer border edge; any
border or padding will be placed within that distance, thus shrinking
the width of the content area. This is illustrated in Figure 7-5.
We’re talking about the box-sizing property here because, as stated,
it applies to “all elements that accept width or height values.”
That’s most often elements generating block boxes, though it also
applies to replaced inline elements like images, as well as inline-block
boxes.
The various widths, heights, padding, and margins all combine to determine how a document is laid out. In most cases, the height and width of the document are automatically determined by the browser and are based on the available display region, plus other factors. With CSS, you can assert more direct control over the way elements are sized and displayed.
Horizontal formatting is often more complex than you’d think. Part of
the complexity has to do with the default behavior of box-sizing. With
the default value of content-box, the value given for width affects
the width of the content area, not the entire visible element box.
Consider the following example:
<pstyle="width: 200px;">wideness?</p>
This will make the paragraph’s content 200 pixels wide. If we give the element a background, this will be quite obvious. However, any padding, borders, or margins you specify are added to the width value. Suppose we do this:
<pstyle="width: 200px; padding: 10px; margin: 20px;">wideness?</p>
The visible element box is now 220 pixels wide, since we’ve added 10 pixels of padding to the right and left of the content. The margins will now extend another 20 pixels to both sides for an overall element box width of 260 pixels. This is illustrated in Figure 7-6.
If we change the styles to use the border box for box-sizing, then the results would be different. In that case, the visible box would be 200 pixels wide with a content width of 180 pixels, and a total of 40 pixels of margin to the sides, giving an overall box width of 240 pixels, as illustrated in Figure 7-7.
In either case, there is a rule that says that the sum of the
horizontal components of a block box in the normal flow always equals
the width of the containing block. Let’s consider two paragraphs within
a div whose margins have been set to be 1em, and whose box-sizing
value is the default. The content width (the value of width) of each
paragraph, plus its left and right padding, borders, and margins, always
adds up to the width of the div’s content area.
Let’s say the width of the div is 30em. That makes the sum total of
the content width, padding, borders, and margins of each paragraph 30
em. In Figure 7-8, the “blank” space around the paragraphs is actually
their margins. If the div had any padding, there would be even more
blank space, but that isn’t the case here.
The seven properties of horizontal formatting are margin-left,
border-left, padding-left, width, padding-right, border-right,
and margin-right. These properties relate to the horizontal layout of
block boxes and are diagrammed in Figure 7-9.
The values of these seven properties must add up to the width of the
element’s containing block, which is usually the value of width for a
block element’s parent (since block-level elements nearly always have
block-level elements for parents).
Of these seven properties, only three may be set to auto: the width of
the element’s content and the left and right margins. The remaining
properties must be set either to specific values or default to a width
of zero. Figure 7-10 shows which parts of the box can take a value of auto
and which cannot.
width must either be set to auto or a nonnegative value of some
type. When you do use auto in horizontal formatting, different effects
can occur.
If you set width, margin-left, or margin-right to a value of
auto, and give the remaining two properties specific values, then the
property that is set to auto is set to the length required to make the
element box’s width equal to the parent element’s width. In other words,
let’s say the sum of the seven properties must equal 500 pixels, no
padding or borders are set, the right margin and width are set to 100px,
and the left margin is set to auto. The left margin will thus be 300
pixels wide:
div{width:500px;}p{margin-left:auto;margin-right:100px;width:100px;}/* 'auto' left margin evaluates to 300px */
In a sense, auto can be used to make up the difference between
everything else and the required total. However, what if all three of
these properties are set to 100px and none of them are set to
auto?
In the case where all three properties are set to something other than
auto—or, in CSS terminology, when these formatting properties have
been overconstrained—then margin-right is always forced to be
auto. This means that if both margins and the width are set to
100px, then the user agent will reset the right margin to
auto. The right margin’s width will then be set according to the rule
that one auto value “fills in” the distance needed to make the
element’s overall width equal that of its containing block. Figure 7-11
shows the result of the following markup:
div{width:500px;}p{margin-left:100px;margin-right:100px;width:100px;}/* right margin forced to be 300px */
If both margins are set explicitly, and width is set to auto, then
width will be whatever value is needed to reach
the required total (which is the content width of the parent element).
The results of the following markup are shown in Figure 7-12:
p{margin-left:100px;margin-right:100px;width:auto;}
The case shown in Figure 7-12 is the most common case, since it is
equivalent to setting the margins and not declaring anything for the
width. The result of the following markup is exactly the same as that
shown in Figure 7-12:
p{margin-left:100px;margin-right:100px;}/* same as before */
You might be wondering what happens if box-sizing is set to, say,
padding-box. The discussion here tends to assume that the default of
content-box is used, but all the same principles described here apply,
which is why this section only talked about width and the side margins
without introducing any padding or borders. The handling of
width: auto in this section and the following sections is the same
regardless of the value of box-sizing. The details of what gets placed
where inside the box-sizing-defined box may vary, but the treatment of
auto values does not, because box-sizing determines what width
refers to, not how it behaves in relation to the margins.
Now let’s see what happens when two of the three properties (width,
margin-left, and margin-right) are set to auto. If both margins
are set to auto, as shown in the following code, then they are set to
equal lengths, thus centering the element within its parent. This is
illustrated in Figure 7-13.
div{width:500px;}p{width:300px;margin-left:auto;margin-right:auto;}/* each margin is 100 pixels wide, because (500-300)/2 = 100 */
Setting both margins to equal lengths is the correct way to center elements within block boxes in the normal flow. (There are other methods to be found with flexible box and grid layout, but they’re beyond the scope of this text.)
Another way of sizing elements is to set one of the margins and the
width to auto. The margin set to be auto is reduced to zero:
div{width:500px;}p{margin-left:auto;margin-right:100px;width:auto;}/* left margin evaluates to 0; width becomes 400px */
The width is then set to the value necessary to make the element fill
its containing block; in the preceding example, it would be 400 pixels, as
shown in Figure 7-14.
Finally, what happens when all three properties are set to auto? The
answer: both margins are set to zero, and the width is made
as wide as possible. This result is the same as the default situation,
when no values are explicitly declared for margins or the width. In such
a case, the margins default to zero and the width defaults to auto.
Note that since horizontal margins do not collapse, the padding, borders, and margins of a parent element can affect its children. The effect is indirect in that the margins (and so on) of an element can induce an offset for child elements. The results of the following markup are shown in Figure 7-15:
div{padding:50px;background:silver;}p{margin:30px;padding:0;background:white;}
So far, this may all seem rather straightforward, and you may be wondering why I said things could be complicated. Well, there’s another side to margins: the negative side. That’s right, it’s possible to set negative values for margins. Setting negative margins can result in some interesting effects.
Remember that the total of the seven horizontal properties always equals
the width of the parent element. As long as all properties are zero or
greater, an element can never be wider than its parent’s content area.
However, consider the following markup, depicted in Figure 7-16:
div{width:500px;border:3pxsolidblack;}p.wide{margin-left:10px;width:auto;margin-right:-50px;}
Yes indeed, the child element is wider than its parent! This is mathematically correct:
The 540px is the evaluation of width: auto, which is the number
needed to balance out the rest of the values in the equation. Even
though it leads to a child element sticking out of its parent, the
specification hasn’t been violated because the values of the seven
properties add up to the required total. It’s a semantic dodge, but it’s
valid behavior.
Now, let’s add some borders to the mix:
div{width:500px;border:3pxsolidblack;}p.wide{margin-left:10px;width:auto;margin-right:-50px;border:3pxsolidgray;}
The resulting change will be a reduction in the evaluated width of
width:
If we were to introduce padding, then the value of width would drop
even more.
Conversely, it’s possible to have auto right margins evaluate to
negative amounts. If the values of other properties force the right
margin to be negative in order to satisfy the requirement that elements
be no wider than their containing block, then that’s what will happen.
Consider:
div{width:500px;border:3pxsolidblack;}p.wide{margin-left:10px;width:600px;margin-right:auto;border:3pxsolidgray;}
The equation will work out like this:
The right margin will evaluate to -116px. Even if we’d given it a
different explicit value, it would still be forced to -116px because
of the rule stating that when an element’s dimensions are
overconstrained, the right margin is reset to whatever is needed to make
the numbers work out correctly. (Except in right-to-left languages,
where the left margin would be overruled instead.)
Let’s consider another example, illustrated in Figure 7-17, where the left margin is set to be negative:
div{width:500px;border:3pxsolidblack;}p.wide{margin-left:-50px;width:auto;margin-right:10px;border:3pxsolidgray;}
With a negative left margin, not only does the paragraph spill beyond
the borders of the div, but it also spills beyond the edge of the
browser window itself!
Remember that padding, borders, and content widths (and heights) can never be negative. Only margins can be less than zero.
When it comes to percentage values for the width, padding, and margins, the same basic rules apply. It doesn’t really matter whether the values are declared with lengths or percentages.
Percentages can be very useful. Suppose we want an element’s content to be two-thirds the width of its containing block, the right and left padding to be 5% each, the left margin to be 5%, and the right margin to take up the slack. That would be written something like:
<pstyle="width: 67%; padding-right: 5%; padding-left: 5%; margin-right: auto;margin-left: 5%;">playing percentages</p>
The right margin would evaluate to 18% (100% - 67% - 5% - 5% - 5%) of the width of the containing block.
Mixing percentages and length units can be tricky, however. Consider the following example:
<pstyle="width: 67%; padding-right: 2em; padding-left: 2em; margin-right: auto;margin-left: 5em;">mixed lengths</p>
In this case, the element’s box can be defined like this:
In order for the right margin’s width to evaluate to zero, the element’s containing block must be 27.272727 em wide (with the content area of the element being 18.272727 em wide). Any wider than that and the right margin will evaluate to a positive value. Any narrower and the right margin will be a negative value.
The situation gets even more complicated if we start mixing length-value unity types, like this:
<pstyle="width: 67%; padding-right: 15px; padding-left: 10px;margin-right: auto;margin-left: 5em;">more mixed lengths</p>
And, just to make things more complex, borders cannot accept percentage values, only length values. The bottom line is that it isn’t really possible to create a fully flexible element based solely on percentages unless you’re willing to avoid using borders or use some of the more experimental approaches such as flexible box layout.
So far, we’ve been dealing with the horizontal formatting of nonreplaced
block boxes in the normal flow of text. Block-level replaced elements
are a bit simpler to manage. All of the rules given for nonreplaced
blocks hold true, with one exception: if width is auto, then the
width of the element is the content’s intrinsic width. The image in
the following example will be 20 pixels wide because that’s the width of
the original image:
<imgsrc="smile.svg"style="display: block; width: auto; margin: 0;">
If the actual image were 100 pixels wide instead, then it would be laid out as 100 pixels wide.
It’s possible to override this rule by assigning a specific value to
width. Suppose we modify the previous example to show the same image
three times, each with a different width value:
<imgsrc="smile.svg"style="display: block; width: 25px; margin: 0;"><imgsrc="smile.svg"style="display: block; width: 50px; margin: 0;"><imgsrc="smile.svg"style="display: block; width: 100px; margin: 0;">
This is illustrated in Figure 7-18.
Note that the height of the elements also increases. When a replaced
element’s width is changed from its intrinsic width, the value of
height is scaled to match, unless height has been set to an explicit
value of its own. The reverse is also true: if height is set, but
width is left as auto, then the width is scaled proportionately to
the change in height.
Now that you’re thinking about height, let’s move on to the vertical formatting of normal-flow block box.
Like horizontal formatting, the vertical formatting of block boxes has its own set of interesting behaviors. An element’s content determines the default height of an element. The width of the content also affects height; the skinnier a paragraph becomes, for example, the taller it has to be in order to contain all of the inline content within it.
In CSS, it is possible to set an explicit height on any block-level element. If you do this, the resulting behavior depends on several other factors. Assume that the specified height is greater than that needed to display the content:
<pstyle="height: 10em;">
In this case, the extra height has a visual effect somewhat like extra padding. But suppose the height is less than what is needed to display the content:
<pstyle="height: 3.33em;">
When that happens, the browser is supposed to provide a means of viewing
all content without increasing the height of the element box. In a case
where the content of an element is taller than the height of its box,
the actual behavior of a user agent will depend on the value of the
property overflow. Two alternatives are shown in Figure 7-19.
Under CSS1, user agents can ignore any value of height other than
auto if an element is not a replaced element (such as an image). In
CSS2 and later, the value of height cannot be ignored, except in one
specific circumstance involving percentage values. We’ll talk about that
in a moment.
Just as with width, height defines the content area’s height by
default, as opposed to the height of the visible element box. Any
padding, borders, or margins on the top or bottom of the element box are
added to the value for height, unless the value of box-sizing is
different than content-box.
As was the case with horizontal formatting, vertical formatting also has
seven related properties: margin-top, border-top, padding-top,
height, padding-bottom, border-bottom, and margin-bottom. These
properties are diagrammed in Figure 7-20.
The values of these seven properties must equal the height of the block
box’s containing block. This is usually the value of height for a
block box’s parent (since block-level elements nearly always have
block-level elements for parents).
Only three of these seven properties may be set to auto: the height
of the element, and the top and bottom margins. The top and bottom
padding and borders must be set to specific values or else they default
to a width of zero (assuming no border-style is declared). If
border-style has been set, then the thickness of the borders is set to
be the vaguely defined value medium. Figure 7-21 provides an illustration
for remembering which parts of the box may have a value of auto and
which may not.
Interestingly, if either margin-top or margin-bottom is set to
auto for a block box in the normal flow, they both automatically evaluate
to 0. A value of 0 unfortunately prevents easy vertical centering of
normal-flow boxes in their containing blocks. It also means that if you
set the top and bottom margins of an element to auto, they are
effectively reset to 0 and removed from the element box.
The handling of auto top and bottom margins is different for
positioned elements, as well as flexible-box elements.
height must be set to auto or to a nonnegative value of some type;
it can never be less than zero.
You already saw how length-value heights are handled, so let’s spend a moment on percentages. If the height of a normal-flow block box is set to a percentage value, then that value is taken as a percentage of the height of the box’s containing block. Given the following markup, the resulting paragraph will be 3 em tall:
<divstyle="height: 6em;"><pstyle="height: 50%;">Half as tall</p></div>
What’s interesting is that while the height can be related to its parent container’s height, percentage values for the top and bottom margins are calculated with respect to the width of the element, not its height. Setting or leaving the top and bottom margins to auto, on the other hand, gives them zero height.
However, in cases where the height of the containing block is not
explicitly declared, percentage heights are reset to auto. If we
changed the previous example so that the height of the div is
auto, the paragraph will now be exactly as tall as the div itself:
<divstyle="height: auto;"><pstyle="height: 50%;">NOT half as tall; height reset to auto</p></div>
These two possibilities are illustrated in Figure 7-22. (The spaces between
the paragraph borders and the div borders are the top and bottom
margins on the paragraphs.)
Before we move on, take a closer look at the first example in Figure 7-22,
the half-as-tall paragraph. It may be half as tall, but it isn’t
vertically centered. That’s because the containing div is 6 em tall,
which means the half-as-tall paragraph is 3 em tall. It has top and
bottom margins of 1 em, so its overall box height is 5 em. That means
there is actually 2 em of space between the bottom of the paragraph’s
visible box and the div’s bottom border, not 1 em. It might seem a bit
odd at first glance, but it makes sense once you work through the
details.
In the simplest case, a normal-flow block box with height: auto is
rendered just high enough to enclose the line boxes of its inline
content (including text). If an auto-height, normal-flow block box has
only block-level children, then its default height will be the distance
from the top of the topmost block-level child’s outer border edge to the
bottom of the bottommost block-level child’s outer bottom border edge.
Therefore, the margins of the child elements will “stick out” of the
element that contains them. (This behavior is explained in the next
section.)
However, if the block-level element has either top or bottom padding, or top or bottom borders, then its height will be the distance from the top of the outer-top margin edge of its topmost child to the outer-bottom margin edge of its bottommost child:
<divstyle="height: auto;background: silver;"><pstyle="margin-top: 2em; margin-bottom: 2em;">A paragraph!</p></div><divstyle="height: auto; border-top: 1px solid; border-bottom: 1px solid;background: silver;"><pstyle="margin-top: 2em; margin-bottom: 2em;">Another paragraph!</p></div>
Both of these behaviors are demonstrated in Figure 7-23.
If we changed the borders in the previous example to padding, the effect
on the height of the div would be the same: it would still enclose the
paragraph’s margins within it.
One other important aspect of vertical formatting is the collapsing of vertically adjacent margins. Collapsing behavior applies only to margins. Padding and borders, where they exist, never collapse with anything.
An unordered list, where list items follow one another, is a perfect example of margin collapsing. Assume that the following is declared for a list that contains five items:
li{margin-top:10px;margin-bottom:15px;}
Each list item has a 10-pixel top margin and a 15-pixel bottom margin. When the list is rendered, however, the distance between adjacent list items is 15 pixels, not 25. This happens because, along the vertical axis, adjacent margins are collapsed. In other words, the smaller of the two margins is eliminated in favor of the larger. Figure 7-24 shows the difference between collapsed and uncollapsed margins.
Correctly implemented user agents collapse vertically adjacent margins, as shown in the first list in Figure 7-24, where there are 15-pixel spaces between each list item. The second list shows what would happen if the user agent didn’t collapse margins, resulting in 25-pixel spaces between list items.
Another word to use, if you don’t like “collapse,” is “overlap.” Although the margins are not really overlapping, you can visualize what’s happening using the following analogy.
Imagine that each element, such as a paragraph, is a small piece of
paper with the content of the element written on it. Around each piece
of paper is some amount of clear plastic, which represents the margins.
The first piece of paper (say an h1 piece) is laid down on the canvas.
The second (a paragraph) is laid below it and then slid up until the
edge of one of the piece’s plastic touches the edge of the other’s
paper. If the first piece of paper has half an inch of plastic along its
bottom edge, and the second has a third of an inch along its top, then
when they slide together, the first piece’s plastic will touch the top
edge of the second piece of paper. The two are now done being placed on
the canvas, and the plastic attached to the pieces is overlapping.
Collapsing also occurs where multiple margins meet, such as at the end of a list. Adding to the earlier example, let’s assume the following rules apply:
ul{margin-bottom:15px;}li{margin-top:10px;margin-bottom:20px;}h1{margin-top:28px;}
The last item in the list has a bottom margin of 20 pixels, the bottom
margin of the ul is 15 pixels, and the top margin of a succeeding h1
is 28 pixels. So once the margins have been collapsed, the distance
between the end of the li and the beginning of the h1 is 28 pixels,
as shown in Figure 7-25.
Now, recall the examples from the previous section, where the
introduction of a border or padding on a containing block would cause
the margins of its child elements to be contained within it. We can see
this behavior in operation by adding a border to the ul element in the
previous example:
ul{margin-bottom:15px;border:1pxsolid;}li{margin-top:10px;margin-bottom:20px;}h1{margin-top:28px;}
With this change, the bottom margin of the li element is now placed
inside its parent element (the ul). Therefore, the only margin
collapsing that takes place is between the ul and the h1, as
illustrated in Figure 7-26.
Negative margins do have an impact on vertical formatting, and they affect how margins are collapsed. If negative vertical margins are set, then the browser should take the absolute maximum of both margins. The absolute value of the negative margin is then subtracted from the positive margin. In other words, the negative is added to the positive, and the resulting value is the distance between the elements. Figure 7-27 provides two concrete examples.
Notice the “pulling” effect of negative top and bottom margins. This is really no different from the way that negative horizontal margins cause an element to push outside of its parent. Consider:
p.neg{margin-top:-50px;margin-right:10px;margin-left:10px;margin-bottom:0;border:3pxsolidgray;}
<divstyle="width: 420px; background-color: silver; padding: 10px;margin-top: 50px; border: 1px solid;"><pclass="neg">A paragraph.</p>A div.</div>
As we see in Figure 7-28, the paragraph has been pulled upward by
its negative top margin. Note that the content of the div that follows
the paragraph in the markup has also been pulled upward 50 pixels. In
fact, every bit of normal-flow content that follows the paragraph is
also pulled upward 50 pixels.
Now compare the following markup to the situation shown in Figure 7-29:
p.neg{margin-bottom:-50px;margin-right:10px;margin-left:10px;margin-top:0;border:3pxsolidgray;}
<divstyle="width: 420px; margin-top: 50px;"><pclass="neg">A paragraph.</p></div><p>The next paragraph.</p>
What’s really happening in Figure 7-29 is that the elements following the
div are placed according to the location of the bottom of the div.
As you can see, the end of the div is actually above the visual bottom
of its child paragraph. The next element after the div is the
appropriate distance from the bottom of the div. This is expected,
given the rules we saw.
Now let’s consider an example where the margins of a list item, an unordered list, and a paragraph are all collapsed. In this case, the unordered list and paragraph are assigned negative margins:
li{margin-bottom:20px;}ul{margin-bottom:-15px;}h1{margin-top:-18px;}
The larger of the two negative margins (-18px) is added to the largest
positive margin (20px), yielding 20px - 18px = 2px. Thus, there
are only two pixels between the bottom of the list item’s content and
the top of the h1’s content, as we can see in Figure 7-30.
When elements overlap each other due to negative margins, it’s hard to tell which elements are on top. You may also have noticed that none of the examples in this section use background colors. If they did, the background color of a following element might overwrite their content. This is expected behavior, since browsers usually render elements in order from beginning to end, so a normal-flow element that comes later in the document can be expected to overwrite an earlier element, assuming the two end up overlapping.
List items have a few special rules of their own. They are typically preceded by a marker, such as a small dot or a number. This marker isn’t actually part of the list item’s content area, so effects like those illustrated in Figure 7-31 are common.
CSS1 said very little about the placement and effects of these markers
with regard to the layout of a document. CSS2 introduced properties
specifically designed to address this issue, such as marker-offset.
However, a lack of implementations and changes in thinking caused this
to be dropped from CSS2.1, and work is being done to reintroduce the
idea (if not the specific syntax) to CSS. Accordingly, the placement of
markers is largely beyond the control of authors, at least as of this
writing.
The marker attached to a list item element can be either outside the
content of the list item or treated as an inline marker at the beginning
of the content, depending on the value of the property
list-style-position. If the marker is brought inside, then the list
item will interact with its neighbors exactly like a block-level
element, as illustrated in Figure 7-32.
If the marker stays outside the content, then it is placed some distance from the left content edge of the content (in left-to-right languages). No matter how the list’s styles are altered, the marker stays the same distance from the content edge. Occasionally, the markers may be pushed outside of the list element itself, as we can see in Figure 7-32.
Remember that list-item boxes define containing blocks for their ancestor boxes, just like regular block boxes.
After block-level elements, inline elements are the most common. Setting
box properties for inline elements takes us into more interesting
territory than we’ve been so far. Some good examples of inline elements
are the em tag and the a tag, both of which are nonreplaced
elements, and images, which are replaced elements.
Note that none of the behavior described in this section applies to table elements. CSS2 introduced new properties and behaviors for handling tables and table content, and these elements behave in ways fairly distinct from either block-level or inline formatting. Table styling is beyond the scope of this book, as it’s surprisingly complicated and exists rather in a world of its own.
Nonreplaced and replaced elements are treated somewhat differently in the inline context, and we’ll look at each in turn as we explore the construction of inline elements.
First, you need to understand how inline content is laid out. It isn’t as simple as block-level elements, which just generate block boxes and usually don’t allow anything to coexist with them. By contrast, look inside a block-level element, such as a paragraph. You may well ask, how did all those lines of text get there? What controls their arrangement? How can I affect it?
In order to understand how lines are generated, first consider the case
of an element containing one very long line of text, as shown in Figure 7-33. Note that we’ve put a border around the line by wrapping the entire
line in a span element and then assigning it a border style:
span{border:1pxdashedblack;}
Figure 7-33 shows the simplest case of an inline element contained by a
block-level element. It’s no different in its way than a paragraph with
two words in it. The only differences are that, in Figure 7-34, we have a
few dozen words, and most paragraphs don’t contain an explicit inline
element such as span.
In order to get from this simplified state to something more familiar, all we have to do is determine how wide the element should be, and then break up the line so that the resulting pieces will fit into the content width of the element. Therefore, we arrive at the state shown in Figure 7-34.
Nothing has really changed. All we did was take the single line and break it into pieces, and then stack those pieces on top of each other.
In Figure 7-34, the borders for each line of text also happen to coincide with the top and bottom of each line. This is true only because no padding has been set for the inline text. Notice that the borders actually overlap each other slightly; for example, the bottom border of the first line is just below the top border of the second line. This is because the border is actually drawn on the next pixel (assuming you’re using a monitor) to the outside of each line. Since the lines are touching each other, their borders will overlap as shown in Figure 7-34.
If we alter the span styles to have a background color, the actual
placement of the lines becomes quite clear. Consider Figure 7-35, which
contains four paragraphs, each with a different value of text-align
and each having the backgrounds of its lines filled in.
As we can see, not every line reaches to the edge of its parent paragraph’s content area, which has been denoted with a dotted gray border. For the left-aligned paragraph, the lines are all pushed flush against the left content edge of the paragraph, and the end of each line happens wherever the line is broken. The reverse is true for the right-aligned paragraph. For the centered paragraph, the centers of the lines are aligned with the center of the paragraph.
In the last case, where the value of text-align is justify, each
line is forced to be as wide as the paragraph’s content area so that
the line’s edges touch the content edges of the paragraph. The
difference between the natural length of the line and the width of the
paragraph is made up by altering the spacing between letters and words
in each line. Therefore, the value of word-spacing can be overridden
when the text is justified. (The value of letter-spacing cannot be
overridden if it is a length value.)
That pretty well covers how lines are generated in the simplest cases. As you’re about to see, however, the inline formatting model is far from simple.
Before we go any further, let’s review some basic terms of inline layout, which will be crucial in navigating the following sections:
This is any string of characters that is not contained within an inline
element. Thus, in the markup <p> I'm <em>so</em> happy!</p>, the
sequences “ I’m ” and “ happy!” are anonymous text. Note that the spaces
are part of the text since a space is a character like any other.
This is defined in the given font, otherwise known as the character box.
Actual glyphs can be taller or shorter than their em boxes. In CSS, the
value of font-size determines the height of each em box.
In nonreplaced elements, the content area can be one of two things, and the CSS specification allows user agents to choose which one. The content area can be the box described by the em boxes of every character in the element, strung together; or it can be the box described by the character glyphs in the element. In this book, I use the em box definition for simplicity’s sake. In replaced elements, the content area is the intrinsic height of the element plus any margins, borders, or padding.
Leading is the difference between the values of font-size and
line-height. This difference is actually divided in half and is
applied equally to the top and bottom of the content area. These
additions to the content area are called, not surprisingly,
half-leading. Leading is applied only to nonreplaced elements.
This is the box described by the addition of the leading to the content
area. For nonreplaced elements, the height of the inline box of an
element will be exactly equal to the value for line-height. For
replaced elements, the height of the inline box of an element will be
exactly equal to the content area, since leading is not applied to
replaced elements.
This is the shortest box that bounds the highest and lowest points of the inline boxes that are found in the line. In other words, the top edge of the line box is placed along the top of the highest inline box top, and the bottom of the line box is placed along the bottom of the lowest inline box bottom.
CSS also contains a set of behaviors and useful concepts that fall outside of the above list of terms and definitions:
The content area is analogous to the content box of a block box.
The background of an inline element is applied to the content area plus any padding.
Any border on an inline element surrounds the content area plus any padding and border.
Padding, borders, and margins on nonreplaced elements have no vertical effect on inline elements or the boxes they generate; that is, they do not affect the height of an element’s inline box (and thus the line box that contains the element).
Margins and borders on replaced elements do affect the height of the inline box for that element and, by implication, the height of the line box for the line that contains the element.
One more thing to note: inline boxes are vertically aligned within the
line according to their values for the property vertical-align.
Before moving on, let’s look at a step-by-step process for constructing a line box, which you can use to see how the various pieces of the line fit together to determine its height.
Determine the height of the inline box for each element in the line by following these steps:
Find the values of font-size and line-height for each inline
nonreplaced element and text that is not part of a descendant inline
element and combine them. This is done by subtracting the font-size
from the line-height, which yields the leading for the box. The
leading is split in half and applied to the top and bottom of each
em box.
Find the values of height, margin-top, margin-bottom,
padding-top, padding-bottom, border-top-width, and
border-bottom-width for each replaced element and add them
together.
Figure out, for each content area, how much of it is above the baseline for the overall line and how much of it is below the baseline. This is not an easy task: you must know the position of the baseline for each element and piece of anonymous text and the baseline of the line itself, and then line them all up. In addition, the bottom edge of a replaced element sits on the baseline for the overall line.
Determine the vertical offset of any elements that have been given a
value for vertical-align. This will tell you how far up or down that
element’s inline box will be moved, and it will change how much of the
element is above or below the baseline.
Now that you know where all of the inline boxes have come to rest, calculate the final line box height. To do so, just add the distance between the baseline and the highest inline box top to the distance between the baseline and the lowest inline box bottom.
Let’s consider the whole process in detail, which is the key to intelligently styling inline content.
First, know that all elements have a line-height, whether it’s
explicitly declared or not. This value greatly influences the way inline
elements are displayed, so let’s give it due attention.
Now let’s establish how to determine the height of a line. A line’s
height (or the height of the line box) is determined by the height of
its constituent elements and other content, such as text. It’s important
to understand that line-height actually affects inline elements and
other inline content, not block-level elements—at least, not directly.
We can set a line-height value for a block-level element, but the
value will have a visual impact only as it’s applied to inline content
within that block-level element. Consider the following empty paragraph,
for example:
<pstyle="line-height: 0.25em;"></p>
Without content, the paragraph won’t have anything to display, so we
won’t see anything. The fact that this paragraph has a line-height of
any value—be it 0.25em or 25in—makes no difference without some
content to create a line box.
We can certainly set a line-height value for a block-level element and
have that apply to all of the content within the block, whether or not
the content is contained in any inline elements. In a certain sense,
then, each line of text contained within a block-level element is its
own inline element, whether or not it’s surrounded by tags. If you like,
picture a fictional tag sequence like this:
<p><line>This is a paragraph with a number of</line><line>lines of text which make up the</line><line>contents.</line></p>
Even though the line tags don’t actually exist, the paragraph behaves
as if they did—each line of text inherits styles from the paragraph.
You only bother to create line-height rules for block-level
elements so you don’t have to explicitly declare a line-height for all
of their inline elements, fictional or otherwise.
The fictional line element actually clarifies the behavior that
results from setting line-height on a block-level element. According
to the CSS specification, declaring line-height on a block-level
element sets a minimum line box height for the content of that
block-level element. Declaring p.spacious {line-height: 24pt;}
means that the minimum heights for each line box is 24 points.
Technically, content can inherit this line height only if an inline
element does so. Most text isn’t contained by an inline element.
If you pretend that each line is contained by the fictional
line element, the model works out very nicely.
Building on your formatting knowledge, let’s move on to the construction of lines that contain only nonreplaced elements (or anonymous text). Then you’ll be in a good position to understand the differences between nonreplaced and replaced elements in inline layout.
First, for an inline nonreplaced element or piece of anonymous text, the
value of font-size determines the height of the content area. If an
inline element has a font-size of 15px, then the content area’s
height is 15 pixels because all of the em boxes in the element are 15
pixels tall, as illustrated in Figure 7-36.
The next thing to consider is the value of line-height for the
element, and the difference between it and the value of font-size. If
an inline nonreplaced element has a font-size of 15px and a
line-height of 21px, then the difference is six pixels. The user agent
splits the six pixels in half and applies half to the top and half to
the bottom of the content area, which yields the inline box. This
process is illustrated in Figure 7-37.
Let’s assume that the following is true:
<pstyle="font-size: 12px; line-height: 12px;">This is text,<em>some of which is emphasized</em>, plus other text<br>which is<strongstyle="font-size: 24px;">strongly emphasized</strong>and which is<br>larger than the surrounding text.</p>
In this example, most of the text has a font-size of 12px, while the
text in one inline nonreplaced element has a size of 24px. However,
all of the text has a line-height of 12px since line-height is
an inherited property. Therefore, the strong element’s line-height
is also 12px.
Thus, for each piece of text where both the font-size and
line-height are 12px, the content height does not change (since the
difference between 12px and 12px is zero), so the inline box is 12
pixels high. For the strong text, however, the difference between
line-height and font-size is -12px. This is divided in half to
determine the half-leading (-6px), and the half-leading is added to
both the top and bottom of the content height to arrive at an inline
box. Since we’re adding a negative number in both cases, the inline box
ends up being 12 pixels tall. The 12-pixel inline box is centered
vertically within the 24-pixel content height of the element, so the
inline box is actually smaller than the content area.
So far, it sounds like we’ve done the same thing to each bit of text, and that all the inline boxes are the same size, but that’s not quite true. The inline boxes in the second line, although they’re the same size, don’t actually line up because the text is all baseline-aligned (see Figure 7-38).
Since inline boxes determine the height of the overall line box, their placement with respect to each other is critical. The line box is defined as the distance from the top of the highest inline box in the line to the bottom of the lowest inline box, and the top of each line box butts up against the bottom of the line box for the preceding line. The result shown in Figure 7-38 gives us the paragraph shown in Figure 7-39.
As we can see in Figure 7-39, the middle line is taller than the other two, but it still isn’t big enough to contain all of the text within it. The anonymous text’s inline box determines the bottom of the line box, while the top of the strong element’s inline box sets the top of the line box. Because that inline box’s top is inside the element’s content area, the contents of the element spill outside the line box and actually overlap other line boxes. The result is that the lines of text look irregular.
If we change the vertical alignment of the inline boxes, the same height
determination principles apply. Suppose that we give the strong
element a vertical alignment of 4px:
<pstyle="font-size: 12px; line-height: 12px;">This is text,<em>some of which is emphasized</em>, plus other text<br>which is<strongstyle="font-size: 24px; vertical-align: 4px;">strongly emphasized</strong>and that is<br>larger than the surrounding text.</p>
That small change raises the strong element four pixels, which pushes
up both its content area and its inline box. Because the strong
element’s inline box top was already the highest in the line, this
change in vertical alignment also pushes the top of the line box upward
by four pixels, as shown in Figure 7-40.
Let’s consider another situation. Here, we have another inline element in the same line as the strong text, and its alignment is other than the baseline:
<pstyle="font-size: 12px; line-height: 12px;">This is text,<em>some of which is emphasized</em>,<br>plus other text that is<strongstyle="font-size: 24px; vertical-align: 4px;">strong</strong>and<spanstyle="vertical-align: top;">tall</span>and is<br>larger than the surrounding text.</p>
Now we have the same result as in our earlier example, where the middle line box is taller than the other line boxes. However, notice how the “tall” text is aligned in Figure 7-41.
In this case, the top of the “tall” text’s inline box is aligned with
the top of the line box. Since the “tall” text has equal values for
font-size and line-height, the content height and inline box are the
same. However, consider this:
<pstyle="font-size: 12px; line-height: 12px;">This is text,<em>some of which is emphasized</em>,<br>plus other text that is<strongstyle="font-size: 24px; vertical-align: 4px;">strong</strong>and<spanstyle="vertical-align: top; line-height: 2px;">tall</span>and is<br>larger than the surrounding text.</p>
Since the line-height for the “tall” text is less than its
font-size, the inline box for that element is smaller than its content
area. This tiny fact changes the placement of the text itself since the
top of its inline box must be aligned with the top of the line box for
its line. Thus, we get the result shown in Figure 7-42.
On the other hand, we could set the “tall” text to have a line-height
that is actually bigger than its font-size. For example:
<pstyle="font-size: 12px; line-height: 12px;">This is text,<em>some of which is emphasized</em>, plus other text<br>that is<strongstyle="font-size: 24px;">strong</strong>and<spanstyle="vertical-align: top; line-height: 18px;">tall</span>and that is<br>larger than the surrounding text.</p>
Since we’ve given the “tall” text a line-height of 18px, the
difference between line-height and font-size is six pixels. The
half-leading of three pixels is added to the content area and results in an
inline box that is 18 pixels tall. The top of this inline box aligns
with the top of the line box. Similarly, the vertical-align value
bottom will align the bottom of an inline element’s inline box with
the bottom of the line box.
In relation to the terms we’ve been using in this chapter, the effects of the
assorted keyword values of vertical-align are:
topAligns the top of the element’s inline box with the top of the containing line box
bottomAligns the bottom of the element’s inline box with the bottom of the containing line box
text-topAligns the top of the element’s inline box with the top of the parent’s content area
text-bottomAligns the bottom of the element’s inline box with the bottom of the parent’s content area
middleAligns the vertical midpoint of the element’s inline box with 0.5ex above the baseline of the parent
superMoves the content area and inline box of the element upward. The distance is not specified and may vary by user agent
subThe same as super, except the element is moved downward instead of upward
<percentage>Shifts the element up or down the distance defined by taking the
declared percentage of the element’s value for line-height
In previous sections, we saw that changing the line-height of an
inline element can cause text from one line to overlap another. In each
case, though, the changes were made to individual elements. So how can
we affect the line-height of elements in a more general way in order
to keep content from overlapping?
One way to do this is to use the em unit in conjunction with an
element whose font-size has changed. For example:
p{line-height:1em;}big{font-size:250%;line-height:1em;}
<p>Not only does this paragraph have "normal" text, but it also<br>contains a line in which<big>some big text</big>is found.<br>This large text helps illustrate our point.</p>
By setting a line-height for the big element, we increase the
overall height of the line box, providing enough room to display the big
element without overlapping any other text and without changing the
line-height of all lines in the paragraph. We use a value of 1em so
that the line-height for the big element will be set to the same
size as big’s font-size. Remember, line-height is set in relation to
the font-size of the element itself, not the parent element. The
results are shown in Figure 7-43.
Make sure you really understand the previous sections, because things will get trickier when we try to add borders. Let’s say we want to put five-pixel borders around any hyperlink:
a:link{border:5pxsolidblue;}
If we don’t set a large enough line-height to accommodate the border,
it will be in danger of overwriting other lines. We could increase the
size of the inline box for unvisited links using line-height, as we
did for the big element in the earlier example; in this case, we’d
just need to make the value of line-height 10 pixels larger than the
value of font-size for those links. However, that will be difficult if we
don’t actually know the size of the font in pixels.
Another solution is to increase the line-height of the paragraph. This
will affect every line in the entire element, not just the line in which
the bordered hyperlink appears:
p{line-height:1.8em;}a:link{border:5pxsolidblue;}
Because there is extra space added above and below each line, the border around the hyperlink doesn’t impinge on any other line, as we can see in Figure 7-44.
This approach works here because all of the text is the same size. If there were other elements in the line that changed the height of the line box, our border situation might also change. Consider the following:
p{font-size:14px;line-height:24px;}a:link{border:5pxsolidblue;}big{font-size:150%;line-height:1.5em;}
Given these rules, the height of the inline box of a big element
within a paragraph will be 31.5 pixels (14 × 1.5 × 1.5), and that will
also be the height of the line box. In order to keep baseline spacing
consistent, we must make the p element’s line-height equal to or
greater than 32px.
The actual height of each line box depends on the way its component elements line up with one another. This alignment tends to depend very much on where the baseline falls within each element (or piece of anonymous text) because that location determines how the inline boxes are arranged. The placement of the baseline within each em box is different for every font. This information is built into the font files and cannot be altered by any means other than directly editing the font files.
Consistent baseline spacing tends to be more of an art than a science. If you declare all of your font sizes and line heights using a single unit, such as ems, then you have a reliable chance of consistent baseline spacing. If you mix units, however, that feat becomes a great deal more difficult, if not impossible. As of this writing, there are proposals for properties that would let authors enforce consistent baseline spacing regardless of the inline content, which would greatly simplify certain aspects of online typography. None of these proposed properties have been implemented though, which makes their adoption a distant hope at best.
The best way to set line-height, as it turns out, is to use a raw
number as the value. This method is the best because the number becomes
the scaling factor, and that factor is an inherited, not a computed,
value. Let’s say we want the line-height`s of all elements in a document
to be one and a half times their `font-size. We would declare:
body{line-height:1.5;}
This scaling factor of 1.5 is passed down from element to element, and,
at each level, the factor is used as a multiplier of the font-size of
each element. Therefore, the following markup would be displayed as
shown in Figure 7-45:
p{font-size:15px;line-height:1.5;}small{font-size:66%;}big{font-size:200%;}<p>Thisparagraphhasaline-heightof1.5timesitsfont-size.Inaddition,anyelementswithinit<small>suchasthissmallelement</small>alsohaveline-heights1.5timestheirfont-size...andthatincludes<big>thisbigelementrighthere</big>.Byusingascalingfactor,line-heightsscaletomatchthefont-sizeofanyelement.</p>
In this example, the line height for the small element turns out to be
15 pixels, and for the big element, it’s 45 pixels. (These numbers may seem
excessive, but they’re in keeping with the overall page design.) Of
course, if we don’t want our big text to generate too much extra
leading, we can give it a line-height value, which will override the
inherited scaling factor:
p{font-size:15px;line-height:1.5;}small{font-size:66%;}big{font-size:200%;line-height:1em;}
Another solution—possibly the simplest of all—is to set the styles such
that lines are no taller than absolutely necessary to hold their
content. This is where we might use a line-height of 1.0. This value
will multiply itself by every font-size to get the same value as the
font-size of every element. Thus, for every element, the inline box
will be the same as the content area, which will mean the absolute
minimum size necessary is used to contain the content area of each
element.
Most fonts still display a little bit of space between the lines of character glyphs because characters are usually smaller than their em boxes. The exception is script (“cursive”) fonts, where character glyphs are usually larger than their em boxes.
As you’re aware from previous discussions, padding, margins, and borders
may all be applied to inline nonreplaced elements. These aspects of the
inline element do not influence the height of the line box at all. If
you were to apply some borders to a span element without any margins
or padding, you’d get results such as those shown in Figure 7-46.
The border edge of inline elements is controlled by the font-size, not
the line-height. In other words, if a span element has a font-size
of 12px and a line-height of 36px, its content area is 12px
high, and the border will surround that content area.
Alternatively, we can assign padding to the inline element, which will push the borders away from the text itself:
span{padding:4px;}
Note that this padding does not alter the actual shape of the content height, and so it will not affect the height of the inline box for this element. Similarly, adding borders to an inline element will not affect the way line boxes are generated and laid out, as illustrated in Figure 7-47.
As for margins, they do not, practically speaking, apply to the top and bottom of an inline nonreplaced element, as they don’t affect the height of the line box. The ends of the element are another story.
Recall the idea that an inline element is basically laid out as a single line and then broken up into pieces. So, if we apply margins to an inline element, those margins will appear at its beginning and end: these are the left and right margins, respectively. Padding also appears at the edges. Thus, although padding and margins (and borders) do not affect line heights, they can still affect the layout of an element’s content by pushing text away from its ends. In fact, negative left and right margins can pull text closer to the inline element, or even cause overlap, as Figure 7-48 shows.
Think of an inline element as a strip of paper with some plastic surrounding it. Displaying the inline element on multiple lines is like slicing up the strip into smaller strips. However, no extra plastic is added to each smaller strip. The only plastic is that which was on the strip to begin with, so it appears only at the beginning and end of the original ends of the paper strip (the inline element). At least, that’s the default behavior, but as we’ll soon see, there is another option.
So, what happens when an inline element has a background and enough padding to cause the lines’ backgrounds to overlap? Take the following situation as an example:
p{font-size:15px;line-height:1em;}pspan{background:#FAA;padding-top:10px;padding-bottom:10px;}
All of the text within the span element will have a content area 15
pixels tall, and we’ve applied 10 pixels of padding to the top and
bottom of each content area. The extra pixels won’t increase the height
of the line box, which would be fine, except there is a background
color. Thus, we get the result shown in Figure 7-49.
CSS 2.1 explicitly states that the line boxes are drawn in document order: “This will cause the borders on subsequent lines to paint over the borders and text of previous lines.” The same principle applies to backgrounds as well, as Figure 7-49 shows. CSS2, on the other hand, allowed user agents “to ‘clip’ the border and padding areas (i.e., not render them).” Therefore, the results may depend greatly on which specification the user agent follows.
In the previous section, we saw that when an inline nonreplaced element
is broken across multiple lines, it’s treated as if it were one long
single-line element that’s sliced into smaller boxes, one slice per line
break. That’s actually just the default behavior, and it can be changed
via the property box-decoration-break.
The default value, slice, is what we saw in the previous section. The
other value, clone, causes each fragement of the element to be drawn
as if it were a standalone box. What does that mean? Compare the two
examples in Figure 7-50, in which exactly the same markup and styles are
treated as either sliced or cloned.
Many of the differences are pretty apparent, but a few are perhaps more subtle. Among the effects are the application of padding to each element’s fragment, including at the ends where the line breaks occurred. Similarly, the border is drawn around each fragment individually, instead of being broken up.
More subtly, notice how the background-image positioning changes
between the two. In the sliced version, background images are sliced
along with everything else, meaning that only one of the fragments
contains the origin image. In the cloned version, however, each
background acts as its own copy, so each has its own origin image. This
means, for example, that even if we have a nonrepeated background
image, it will appear once in each fragment instead of only in one
fragment.
The box-decoration-break property will most often be used with inline
boxes, but it actually applies in any situation where there’s a break in
an element—for example, when a page break interrupts an element in paged media. In such a case, each fragment is a separate slice. If we
set box-decoration-break: clone, then each box fragment will be
treated as a copy when it comes to borders, padding, backgrounds, and so
on. The same holds true in multicolumn layout: if an element is split by
a column break, the value of
box-decoration-break will affect how it is rendered.
Even in cases where you try to keep inline nonreplaced element backgrounds from overlapping, it can still happen, depending on which font is in use. The problem lies in the difference between a font’s em box and its character glyphs. Most fonts, as it turns out, don’t have em boxes whose heights match the character glyphs.
That may sound very abstract, but it has practical consequences. In CSS2.1, we find the following: “the height of the content area should be based on the font, but this specification does not specify how. A user agent may…use the em box or the maximum ascender and descender of the font. (The latter would ensure that glyphs with parts above or below the em box still fall within the content area, but leads to differently sized boxes for different fonts.)”
In other words, the “painting area” of an inline nonreplaced element is
left to the user agent. If a user agent takes the em box to be the
height of the content area, then the background of an inline nonreplaced
element will be equal to the height of the em box (which is the value of
font-size). If a user agent uses the maximum ascender and descender of
the font, then the background may be taller or shorter than the em box.
Therefore, you could give an inline nonreplaced element a line-height
of 1em and still have its background overlap the content of other
lines.
Inline replaced elements, such as images, are assumed to have an
intrinsic height and width; for example, an image will be a certain
number of pixels high and wide. Therefore, a replaced element with an
intrinsic height can cause a line box to become taller than normal. This
does not change the value of line-height for any element in the
line, including the replaced element itself. Instead, the line box is
made just tall enough to accommodate the replaced element, plus any
box properties. In other words, the entirety of the replaced
element—content, margins, borders, and padding—is used to define the
element’s inline box. The following styles lead to one such example, as
shown in Figure 7-51:
p{font-size:15px;line-height:18px;}img{height:30px;margin:0;padding:0;border:none;}
Despite all the blank space, the effective value of line-height has
not changed, either for the paragraph or the image itself. line-height
has no effect on the image’s inline box. Because the image in
Figure 7-51 has no padding, margins, or borders, its inline box is
equivalent to its content area, which is, in this case, 30 pixels tall.
Nonetheless, an inline replaced element still has a value for
line-height. Why? In the most common case, it needs the value in order
to correctly position the element if it’s been vertically aligned.
Recall that, for example, percentage values for vertical-align are
calculated with respect to an element’s line-height. Thus:
p{font-size:15px;line-height:18px;}img{vertical-align:50%;}
<p>the image in this sentence<imgsrc="test.gif"alt="test image">will be raised 9 pixels.</p>
The inherited value of line-height causes the image to be raised nine
pixels instead of some other number. Without a value for line-height,
it wouldn’t be possible to perform percentage-value vertical alignments.
The height of the image itself has no relevance when it comes to
vertical alignment; the value of line-height is all that matters.
However, for other replaced elements, it might be important to pass on a
line-height value to descendant elements within that replaced element.
An example would be an SVG image, which uses CSS to style any text found
within the image.
After everything we’ve just been through, applying margins, borders, and padding to inline replaced elements almost seems simple.
Padding and borders are applied to replaced elements as usual; padding inserts space around the actual content and the border surrounds the padding. What’s unusual about the process is that these two things actually influence the height of the line box because they are part of the inline box of an inline replaced element (unlike inline nonreplaced elements). Consider Figure 7-52, which results from the following styles:
img{height:50px;width:50px;}img.one{margin:0;padding:0;border:3pxdotted;}img.two{margin:10px;padding:10px;border:3pxsolid;}
Note that the first line box is made tall enough to contain the image, whereas the second is tall enough to contain the image, its padding, and its border.
Margins are also contained within the line box, but they have their own wrinkles. Setting a positive margin is no mystery; it will make the inline box of the replaced element taller. Setting negative margins, meanwhile, has a similar effect: it decreases the size of the replaced element’s inline box. This is illustrated in Figure 7-53, where we can see that a negative top margin is pulling down the line above the image:
img.two{margin-top:-10px;}
Negative margins operate the same way on block-level elements, of course. In this case, the negative margins make the replaced element’s inline box smaller than ordinary. Negative margins are the only way to cause inline replaced elements to bleed into other lines, and it’s why the boxes that replaced inline elements generate are often assumed to be inline-block.
You may have noticed by now that, by default, inline replaced elements
sit on the baseline. If you add bottom padding, a margin, or a border to
the replaced element, then the content area will move upward (assuming
box-sizing: content-box). Replaced elements do not have
baselines of their own, so the next best thing is to align the bottom of
their inline boxes with the baseline. Thus, it is actually the bottom
outer margin edge that is aligned with the baseline, as illustrated in
Figure 7-54.
This baseline alignment leads to an unexpected (and unwelcome) consequence: an image placed in a table cell all by itself should make the table cell tall enough to contain the line box containing the image. The resizing occurs even if there is no actual text, not even whitespace, in the table cell with the image. Therefore, the common sliced-image and spacer-GIF designs of years past can fall apart quite dramatically in modern browsers. (I know that you don’t create such things, but this is still a handy context in which to explain this behavior.) Consider the simplest case:
td{font-size:12px;}
<td><imgsrc="spacer.gif"height="1"width="10"></td>
Under the CSS inline formatting model, the table cell will be 12 pixels tall, with the image sitting on the baseline of the cell. So there might be three pixels of space below the image and eight above it, although the exact distances would depend on the font family used and the placement of its baseline.
This behavior is not confined to images inside table cells; it will also
happen in any situation where an inline replaced element is the sole
descendant of a block-level or table-cell element. For example, an image
inside a div will also sit on the baseline.
The most common workaround for such circumstances is to make images in table cells block-level so that they do not generate a line box. For example:
td{font-size:12px;}img.block{display:block;}
<td><imgsrc="spacer.gif"height="1"width="10"class="block"></td>
Another possible fix would be to make the font-size and line-height
of the enclosing table cell 1px, which would make the line box only as
tall as the one-pixel image within it.
As of this writing, many browsers can ignore this CSS inline formatting model in this context. See the article “Images, Tables, and Mysterious Gaps” for more information.
Here’s another interesting effect of inline replaced elements sitting on the baseline: if we apply a negative bottom margin, the element will actually get pulled downward because the bottom of its inline box will be higher than the bottom of its content area. Thus, the following rule would have the result shown in Figure 7-55:
pimg{margin-bottom:-10px;}
This can easily cause a replaced element to bleed into following lines of text, as Figure 7-55 shows.
As befits the hybrid look of the value name inline-block, inline-block
elements are indeed a hybrid of block-level and inline elements. This
display value was introduced in CSS2.1.
An inline-block element relates to other elements and content as an inline box. In other words, it’s laid out in a line of text just as an image would be, and in fact, inline-block elements are formatted within a line as a replaced element. This means the bottom of the inline-block element will rest on the baseline of the text line by default and will not line break within itself.
Inside the inline-block element, the content is formatted as though the
element were block-level. The properties width and height apply to
it (and thus so does box-sizing), as they do to any block-level or
inline replaced element, and those properties will increase the height
of the line if they are taller than the surrounding content.
Let’s consider some example markup that will help make this clearer:
<divid="one">This text is the content of a block-level level element. Within this block-level element is another block-level element.<p>Look, it's a block-level paragraph.</p>Here's the rest of the DIV, which is still block-level.</div><divid="two">This text is the content of a block-level level element. Within this block-level element is an inline element.<p>Look, it's an inline paragraph.</p>Here's the rest of the DIV, which is still block-level.</div><divid="three">This text is the content of a block-level level element. Within this block-level element is an inline-block element.<p>Look, it's an inline-block paragraph.</p>Here's the rest of the DIV, which is still block-level.</div>
To this markup, we apply the following rules:
div{margin:1em0;border:1pxsolid;}p{border:1pxdotted;}div#onep{display:block;width:6em;text-align:center;}div#twop{display:inline;width:6em;text-align:center;}div#threep{display:inline-block;width:6em;text-align:center;}
The result of this stylesheet is depicted in Figure 7-56.
Notice that in the second div, the inline paragraph is formatted as
normal inline content, which means width and text-align get ignored
(since they do not apply to inline elements). For the third div,
however, the inline-block paragraph honors both properties, since it is
formatted as a block-level element. That paragraph’s margins also force
its line of text to be much taller, since it affects line height as
though it were a replaced element.
If an inline-block element’s width is not defined or explicitly
declared auto, the element box will shrink to fit the content. That
is, the element box is exactly as wide as necessary to hold the content,
and no wider. Inline boxes act the same way, although they can break
across lines of text, whereas inline-block elements cannot. Thus, we have the
following rule, when applied to the previous markup example:
div#threep{display:inline-block;height:4em;}
will create a tall box that’s just wide enough to enclose the content, as shown in Figure 7-57.
Inline-block elements can be useful if, for example, we have a set of five hyperlinks that we want to be equal width within a toolbar. To make them all 20% the width of their parent element, but still leave them inline, declare:
nava{display:inline-block;width:20%;}
Flexible-box layout is another way to achieve this effect, and is probably better suited to it in most if not all cases.
The values flow and flow-root deserve a moment of explanation. Declaring an element to be laid out using display: flow means that it should use block-and-inline layout, the same as normal. That is, unless it’s combined with inline, in which case it generates an inline box.
In other words, the first two of the following rules will result in a block box, whereas the third will yield an inline box.
#first{display:flow;}#second{display:blockflow;}#third{display:inlineflow;}
The reason for this pattern is that CSS is moving to a system where there are two kinds of display: the outer display type and the inner display type. Value keywords like block and inline represent the outer display type, which provides how the display box interacts with its surroundings. The inner display, in this case flow, describes what should happen inside the element.
This approach allows for declarations like display: inline table to indicate an element should generate a table formatting context within, but relate to its surrounding content as an inline element. (The legacy value inline-table has the same effect.)
display: flow-root, on the other hand, always generates a block box, with a new block formatting context inside itself. This is the sort of thing that would be applied to the root element of a document, like html, to say “this is where the formatting root lies.”
The old display values you may be familiar with are still available. Table 7-1 shows how the old values will be represented using the new values.
| Old values | New values |
|---|---|
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There is one fascinating new addition to display, which is the value contents. When applied to an element, display: contents causes the element to be removed from page formatting, and effectively “elevates” its child elements to its level. As an example, consider the following simple CSS and HTML.
ul{border:1pxsolidred;}li{border:1pxsolidsilver;}
<ul><li>The first list item.</li><li>List Item II: The Listening.</li><li>List item the third.</li></ul>
That will yield an unordered list with a red border, and three list items with silver borders.
If we then apply display: contents to the ul element, the user agent will render things as if the <ul> and </ul> lines had been deleted from the document source. The difference in the regular result and the contents result is shown in Figure 7-58.
display: contentsThe list items are still list items, and act like them, but visually, the ul is gone, as if had never been. The means not only does its border go away, but also the top and bottom margins that usually separate the list from surrounding content. This is why the second list in Figure 7-58 appears higher up than the first.
There are a great many more display values we haven’t covered in this chapter, and won’t. The various table-related values will come up in a later chapter devoted to table layout, and we’ll talk about list items again in the chapter on counters and generated content.
Values we won’t really talk about are the ruby-related values, which need their own book and are poorly supported as of late 2017; and run-in, which never caught on and will either be dropped from CSS, or will return with a new definition.
The computed value of display can change if an element is floated or
positioned. It can also change when declared for the root element. In
fact, the values display, position, and float interact in
interesting ways.
If an element is absolutely positioned, the value of float is set to
none. For either floated or absolutely positioned elements, the
computed value of display is determined by the declared value, as
shown in Table 7-2.
| Declared value | Computed value |
|---|---|
|
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|
All others |
As specified |
In the case of the root element, declaring either of the values
inline-table or table results in a computed value of table,
whereas declaring none results in the same computed value. All other
display values are computed to be block.
Although some aspects of the CSS formatting model may seem counterintuitive at first, they begin to make sense the more one works with them. In many cases, rules that seem nonsensical or even idiotic turn out to exist in order to prevent bizarre or otherwise undesirable document displays. Block-level elements are in many ways easy to understand, and affecting their layout is typically a simple task. Inline elements, on the other hand, can be trickier to manage, as a number of factors come into play, not least of which is whether the element is replaced or nonreplaced.
In the previous chapter, we talked about the basics of element display. In this chapter, we’ll look at the CSS properties and values you can use to change the specific appearance of elements that are displayed. These include the padding, borders, and margins around an element, as well as any outlines that may be added.
As you may be aware, all document elements generate a rectangular box called the element box, which describes the amount of space that an element occupies in the layout of the document. Therefore, each box influences the position and size of other element boxes. For example, if the first element box in the document is an inch tall, then the next box will begin at least an inch below the top of the document. If the first element box is changed and made to be two inches tall, every following element box will shift downward an inch, and the second element box will begin at least two inches below the top of the document.
By default, a visually rendered document is composed of a number of rectangular boxes that are distributed so that they don’t overlap. Also, within certain constraints, these boxes take up as little space as possible while still maintaining a sufficient separation to make clear which content belongs to which element.
Boxes can overlap if they have been manually positioned, and visual overlap can occur if negative margins are used on normal-flow elements.
In order to understand how margins, padding, and borders are handled, you must understand the box model, illustrated in Figure 8-1.
The diagram in Figure 8-1 intentionally omits outlines, for reasons that will hopefully be clear once we discuss outlines.
It’s fairly common to explicitly define the width of an element, and
historically much less common to explicitly define the height.
By default, the width
of an element is defined to be the distance from the left inner edge to
the right inner edge, and the height is the distance from the inner top
to the inner bottom. The properties that affect these distances are, unsurprisingly, called height and width.
One important note about these two properties: they don’t apply to
inline nonreplaced elements. For example, if you try to declare a
height and width for a hyperlink that’s in the normal flow and
generates an inline box, CSS-conformant browsers must ignore those
declarations. Assume that the following rule applies:
a:link{color:red;background:silver;height:15px;width:60px;}
You’ll end up with red unvisited links on silver backgrounds whose
height and width are determined by the content of the links. They will
not have content areas that are 15 pixels tall by 60 pixels wide. If,
on the other hand, you add a display value, such as inline-block or
block, then height and width will set the height and width of
the links’ content areas.
As of late 2017, there were a few new values being considered for height and width. These are stretch, min-content, max-content, and fit-content (in two forms). Support for these values was limited, and it’s not clear whether these values will be applied to height and width any time soon.
In the course of this chapter, we’ll usually keep the discussion simple by assuming that the height of an element is always calculated automatically. If an element is eight lines long, and each line is an eighth of an inch tall, then the height of the element is one inch. If it’s 10 lines tall, then the height is 1.25 inches. In either case, the height is determined by the content of the element, not by the author. It’s rarely the case that elements in the normal flow have a set height.
It’s possible to change the meaning of height and width using
the property box-sizing. This is not covered in this chapter, but in
short, you can use either the content box or the border box as the area
of measure. For the purposes of this chapter, we’ll assume the default
situation holds: that height and width refer to the height and width
of the content area (box-sizing: content-box).
Just beyond the content area of an element, we find its padding,
nestled between the content and any borders. The simplest way to set
padding is by using the property padding.
As you can see, this property accepts any length value, or a percentage
value. So if you want all h2 elements to have 1 em of padding on all
sides, it’s this easy (see Figure 8-2):
h2{padding:2em;background-color:silver;}
As Figure 8-2 illustrates, the background of an element extends into the padding by default. If the background is transparent, this will create some extra transparent space around the element’s content, but any visible background will extend into the padding area (and beyond, as we’ll see in a later section).
Visible backgrounds can be prevented from extending into the
padding by using the property background-clip.
By default, elements have no padding. The separation between paragraphs, for example, has traditionally been enforced with margins alone (as we’ll see later on). It’s also the case that, without padding, the border of an element will come very close to the content of the element itself. Thus, when putting a border on an element, it’s usually a good idea to add some padding as well, as Figure 8-3 illustrates.
Any length value is permitted, from ems to inches. The simplest way to
set padding is with a single length value, which is applied equally to
all four padding sides. At times, however, you might desire a different
amount of padding on each side of an element. If
you want all h1 elements to have a top padding of 10 pixels, a right
padding of 20 pixels, a bottom padding of 15 pixels, and a left padding
of 5 pixels, here’s all you need:
h1{padding:10px20px15px5px;}
The order of the values is important, and follows this pattern:
padding:toprightbottomleft
A good way to remember this pattern is to keep in mind that the four values go clockwise around the element, starting from the top. The padding values are always applied in this order, so to get the effect you want, you have to arrange the values correctly.
An easy way to remember the order in which sides must be declared, other than thinking of it as being clockwise from the top, is to keep in mind that getting the sides in the correct order helps you avoid “TRouBLe”—that is, TRBL, for “Top Right Bottom Left.”
It’s also possible to mix up the types of length value you use. You aren’t restricted to using a single length type in a given rule, but can use whatever makes sense for a given side of the element, as shown here:
h2{padding:14px5em0.1in3ex;}/* value variety! */
Figure 8-4 shows you, with a little extra annotation, the results of this declaration.
Sometimes, the values you enter can get a little repetitive:
p{padding:0.25em1em0.25em1em;}/* TRBL - Top Right Bottom Left */
You don’t have to keep typing in pairs of numbers like this, though. Instead of the preceding rule, try this:
p{padding:0.25em1em;}
These two values are enough to take the place of four. But how? CSS
defines a few rules to accommodate fewer than four values for padding
(and many other shorthand properties). These are:
If the value for left is missing, use the value provided for right.
If the value for bottom is missing, use the value provided for top.
If the value for right is missing, use the value provided for top.
If you prefer a more visual approach, take a look at the diagram shown in Figure 8-5.
In other words, if three values are given for padding, the fourth
(left) is copied from the second (right). If two values are given,
the fourth is copied from the second, and the third (bottom) from the
first (top). Finally, if only one value is given, all the other sides
copy that value.
This mechanism allows authors to supply only as many values as necessary, as shown here:
h1{padding:0.25em00.5em;}/* same as '0.25em 0 0.5em 0' */h2{padding:0.15em0.2em;}/* same as '0.15em 0.2em 0.15em 0.2em' */p{padding:0.5em10px;}/* same as '0.5em 10px 0.5em 10px' */p.close{padding:0.1em;}/* same as '0.1em 0.1em 0.1em 0.1em' */
The method presents a small drawback, which you’re bound to eventually encounter. Suppose you want to set the top and left padding for h1 elements to be 10 pixels, and the bottom and right padding to be 20 pixels. In that case, you have to write the following:
h1{padding:10px20px20px10px;}/* can't be any shorter */
You get what you want, but it takes a while to get it all in. Unfortunately, there is no way to cut down on the number of values needed in such a circumstance. Let’s take another example, one where you want all of the padding to be zero—except for the left padding, which should be 3 em:
h2{padding:0003em;}
Using padding to separate the content areas of elements can be trickier than using the traditional margins, although it’s not without its rewards. For example, to keep paragraphs the traditional “one blank line” apart with padding, you’d have to write:
p{margin:0;padding:0.5em0;}
The half-em top and bottom padding of each paragraph butt up against each other and total an em of separation. Why would you bother to do this? Because then you could insert separation borders between the paragraphs, should you so choose, and side borders will touch to form the appearance of a solid line. Both these effects are illustrated in Figure 8-6:
p{margin:0;padding:0.5em0;border-bottom:1pxsolidgray;border-left:3pxdoubleblack;}
Fortunately, there’s a way to assign a value to the padding on a single
side of an element. Four ways, actually. Let’s say you only want to set
the left padding of h2 elements to be 3em. Rather than writing out
padding: 0 0 0 3em, you can take this approach:
h2{padding-left:3em;}
padding-left is one of four properties devoted to setting the padding
on each of the four sides of an element box. Their names will come as
little surprise.
These properties operate in a manner consistent with their names. For example, the following two rules will yield the same amount of padding:
h1{padding:0000.25in;}h2{padding-left:0.25in;}
Similarly, these rules are will create equal padding:
h1{padding:0.25in00;}/* left padding is copied from right padding */h2{padding-top:0.25in;}
For that matter, so will these rules:
h1{padding:00.25in;}h2{padding-right:0.25in;padding-left:0.25in;}
It’s possible to use more than one of these single-side properties in a single rule; for example:
h2{padding-left:3em;padding-bottom:2em;padding-right:0;padding-top:0;background:silver;}
As you can see in Figure 8-7, the padding is set as we wanted. In this case, it might have been easier to use padding after all, like so:
h2{padding:002em3em;}
In general, once you’re trying to set padding for more than one side,
it’s easier to use the shorthand padding. From the standpoint of your
document’s display, however, it doesn’t really matter which approach you
use, so choose whichever is easiest for you.
It’s possible to set percentage values for the padding of an element. Percentages are computed in relation to the width of the parent element’s content area, so they change if the parent element’s width changes in some way. For example, assume the following, which is illustrated in Figure 8-8:
p{padding:10%;background-color:silver;}
<divstyle="width: 600px;"><p>This paragraph is contained within a DIV that has a width of 600 pixels, so its padding will be 10% of the width of the paragraph's parent element. Given the declared width of 600 pixels, the padding will be 60 pixels on all sides.</p></div><divstyle="width: 300px;"><p>This paragraph is contained within a DIV with a width of 300 pixels, so its padding will still be 10% of the width of the paragraph's parent. There will, therefore, be half as much padding on this paragraph as that on the first paragraph.</p></div>
You may have noticed something odd about the paragraphs in Figure 8-8. Not only did their side padding change according to the width of their parent elements, but so did their top and bottom padding. That’s the desired behavior in CSS. Refer back to the property definition, and you’ll see that percentage values are defined to be relative to the width of the parent element. This applies to the top and bottom padding as well as to the left and right. Thus, given the following styles and markup, the top padding of the paragraph will be 50 px:
divp{padding-top:10%;}
<divstyle="width: 500px;"><p>This is a paragraph, and its top margin is 10% the width of its parent element.</p></div>
If all this seems strange, consider that most elements in the normal flow are (as we are assuming) as tall as necessary to contain their descendant elements, including padding. If an element’s top and bottom padding were a percentage of the parent’s height, an infinite loop could result where the parent’s height was increased to accommodate the top and bottom padding, which would then have to increase to match the new height, and so on. Rather than ignore percentages for top and bottom padding, the specification authors decided to make it relate to the width of the parent’s content area, which does not change based on the width of its descendants.
By contrast, consider the case of elements without a declared width. In such cases, the overall width of the element box (including padding) is dependent on the width of the parent element. This leads to the possibility of fluid pages, where the padding on elements enlarges or reduces to match the actual size of the parent element. If you style a document so that its elements use percentage padding, then as the user changes the width of a browser window, the padding will expand or shrink to fit. The design choice is up to you.
The treatment of percentage values for top and bottom padding is different for most positioned elements, flex items, and grid items, where they are calculated with respect to the height of their formatting context.
It’s also possible to mix percentages with length values. Thus, to set
h2 elements to have top and bottom padding of one-half em, and side
padding of 10% the width of their parent elements, you can declare
the following, illustrated in Figure 8-9:
h2{padding:0.5em10%;}
Here, although the top and bottom padding will stay constant in any situation, the side padding will change based on the width of the parent element.
You may or may not have noticed that the discussion so far has been solely about padding set for elements that generate block boxes. When padding is applied to inline nonreplaced elements, things can get a little different.
Let’s say you want to set top and bottom padding on strongly emphasized text:
strong{padding-top:25px;padding-bottom:50px;}
This is allowed in the specification, but since you’re applying the padding to an inline nonreplaced element, it will have absolutely no effect on the line height. Since padding is transparent when there’s no visible background, the preceding declaration will have no visual effect whatsoever. This happens because padding on inline nonreplaced elements doesn’t change the line height of an element.
Be careful: an inline nonreplaced element with a background color and padding can have a background that extends above and below the element, like this:
strong{padding-top:0.5em;background-color:silver;}
Figure 8-10 gives you an idea of what this might look like.
The line height isn’t changed, but since the background color does extend into the padding, each line’s background ends up overlapping the lines that come before it. That’s the expected result.
The preceding behaviors are true only for the top and bottom sides of inline nonreplaced elements; the left and right sides are a different story. We’ll start by considering the case of a small, inline nonreplaced element within a single line. Here, if you set values for the left or right padding, they will be visible, as Figure 8-11 makes clear (so to speak):
strong{padding-left:25px;background:silver;}
Note the extra space between the end of the word just before the inline nonreplaced element and the edge of the inline element’s background. You can add that extra space to both ends of the inline if you want:
strong{padding-left:25px;padding-right:25px;background:silver;}
As expected, Figure 8-12 shows a little extra space on the right and left sides of the inline element, and no extra space above or below it.
Now, when an inline nonreplaced element stretches across multiple lines, the situation changes a bit. Figure 8-13 shows what happens when an inline nonreplaced element with a padding is displayed across multiple lines:
strong{padding:025px;background:silver;}
The left padding is applied to the beginning of the element and the
right padding to the end of it. By default, padding is not applied to
the right and left side of each line. Also, you can see that, if not for
the padding, the line may have broken after “background.” instead of
where it did. padding only affects line breaking by changing the point
at which the element’s content begins within a line.
The way padding is (or isn’t) applied to the ends of each line
box can be altered with the property box-decoration-break. See Chapter 7 for more details.
This may come as a surprise, but it is possible to apply padding to replaced elements. The most surprising case is that you can apply padding to an image, like this:
img{background:silver;padding:1em;}
Regardless of whether the replaced element is block-level or inline, the padding will surround its content, and the background color will fill into that padding, as shown in Figure 8-14. You can also see in Figure 8-14 that padding will push a replaced element’s border (dashed, in this case) away from its content.
Now, remember all that stuff about how padding on inline nonreplaced elements doesn’t affect the height of the lines of text? You can throw it all out for replaced elements, because they have a different set of rules. As you can see in Figure 8-15, the padding of an inline replaced element very much affects the height of the line.
The same goes for borders and margins, as we’ll soon see.
As of late 2017, there was still uncertainty over what to do about
styling form elements such as input, which are replaced elements. It
is not entirely clear where the padding of a checkbox resides, for
example. Therefore, as of this writing, some browsers ignore padding
(and other forms of styling) for form elements, while others apply the styles as best they can.
Beyond the padding of an element are its borders. The border of an element is just one or more lines that surround the content and padding of an element. By default, the background of the element will stop at the outer border edge, since the background does not extend into the margins, and the border is just inside the margin.
Every border has three aspects: its width, or thickness; its style, or
appearance; and its color. The default value for the width of a border
is medium, which is not an explicitly defined distance, but usually
works out to be two pixels. Despite this, the reason you don’t usually
see borders is that the default style is none, which prevents them
from existing at all. (This lack of existence can also reset the
border-width value, but we’ll get to that in a little while.)
Finally, the default border color is the foreground color of the element
itself. If no color has been declared for the border, then it will be
the same color as the text of the element. If, on the other hand, an
element has no text—let’s say it has a table that contains only
images—the border color for that table will be the text color of its
parent element (thanks to the fact that color is inherited). That
element is likely to be body, div, or another table. Thus, if a
table has a border, and the body is its parent, given this rule:
body{color:purple;}
then, by default, the border around the table will be purple (assuming the user agent doesn’t set a color for tables).
The CSS specification defines the background area of an element to
extend to the outside edge of the border, at least by default. This is
important because some borders are intermittent—for example, dotted
and dashed borders—so the element’s background should appear in the
spaces between the visible portions of the border.
Visible backgrounds can be prevented from extending into the
border area by using the property background-clip. See Chapter 9 for details.
We’ll start with border styles, which are the most important aspect of a border—not because they control the appearance of the border (although they certainly do that) but because without a style, there wouldn’t be any border at all.
CSS defines 10 distinct non-inherit styles for the property
border-style, including the default value of none. The styles are
demonstrated in Figure 8-16.
The style value hidden is equivalent to none, except when applied to
tables, where it has a slightly different effect on border-conflict
resolution.
The most unpredictable border style is double. It’s defined such that
the width of the two lines it creates, plus the width of the space
between them, is equal to the value of border-width (discussed in the
next section). However, the CSS specification doesn’t say whether one of
the lines should be thicker than the other, or if they should always be
the same width, or if the space should be thicker or thinner than the
lines. All of these things are left up to the user agent to decide, and
the author has no reliable way to influence the final result.
All the borders shown in Figure 8-16 are based on a color value of
gray, which makes all of the visual effects easier to see. The look of
a border style is always based in some way on the color of the border,
although the exact method may vary between user agents. The way browsers
treat colors in the border styles inset, outset, groove, and
ridge can and does vary. For example, Figure 8-17 illustrates two
different ways of rendering an inset border.
Note how one browser takes the gray value for the bottom and right
sides, and a darker gray for the top and left; the other makes the
bottom and right lighter than gray and the top and left darker, but
not as dark as the first browser.
Now let’s define a border style for images that are inside any unvisited
hyperlink. We might make them outset, so they have a “raised button”
look, as depicted in Figure 8-18:
a:linkimg{border-style:outset;}
By default, the color of the border is based on the element’s value for
color, which in this circumstance is likely to be blue. This is
because the image is contained with a hyperlink, and the foreground
color of hyperlinks is usually blue. If you so desired, you could
change that color to silver, like this:
a:linkimg{border-style:outset;color:silver;}
The border will now be based on the light grayish silver, since that’s
now the foreground color of the image—even though the image doesn’t
actually use it, it’s still passed on to the border. We’ll talk about
another way to change border colors in the section “Border Colors”.
Remember, though, that the color-shifting in borders is up to the user agent. Let’s go back to the blue outset border and compare it in two different browsers, as shown in Figure 8-19.
Again, notice how one browser shifts the colors to the lighter and
darker, while another just shifts the “shadowed” sides to be darker than
blue. This is why, if a specific set of colors is desired, authors
usually set the exact colors they want instead of using a border style
like outset and leaving the result up to the browser. We’ll soon see
just how to do that.
It’s possible to define more than one style for a given border. For example:
p.aside{border-style:soliddasheddottedsolid;}
The result is a paragraph with a solid top border, a dashed right border, a dotted bottom border, and a solid left border.
Again we see the top-right-bottom-left order of values, just as we saw
in our discussion of setting padding with multiple values. All the
same rules about value replication apply to border styles, just as they
did with padding. Thus, the following two statements would have the same
effect, as depicted in Figure 8-20:
p.new1{border-style:solidnonedashed;}p.new2{border-style:solidnonedashednone;}
There may be times when you want to set border styles for just one side of an element box, rather than all four. That’s where the single-side border style properties come in.
Single-side border style properties are fairly self-explanatory. If you
want to change the style for the bottom border, for example, you use
border-bottom-style.
It’s not uncommon to see border used in conjunction with a single-side
property. Suppose you want to set a solid border on three sides of a
heading, but not have a left border, as shown in Figure 8-21.
There are two ways to accomplish this, each one equivalent to the other:
h1{border-style:solidsolidsolidnone;}/* the above is the same as the below */h1{border-style:solid;border-left-style:none;}
What’s important to remember is that if you’re going to use the second
approach, you have to place the single-side property after the
shorthand, as is usually the case with shorthands. This is because
border-style: solid is actually a declaration of
border-style: solid solid solid solid. If you put
border-style-left: none before the border-style declaration, the
shorthand’s value will override the single-side value of none.
Once you’ve assigned a border a style, the next step is to give it some
width, most easily by using the property border-width or one of its cousin properties.
Each of these properties is used to set the width on a specific border side, just as with the margin properties.
As of late 2017, border widths still cannot be given percentage values, which is rather a shame.
There are four ways to assign width to a border: you can give it a
length value such as 4px or 0.1em, or use one of three keywords.
These keywords are thin, medium (the default value), and thick.
These keywords don’t necessarily correspond to any particular width, but
are defined in relation to one another. According to the
specification, thick is always wider than medium, which is in turn
always wider than thin. Which makes sense.
However, the exact widths are not defined, so one user agent could set
them to be equivalent to 5px, 3px, and 2px, while another sets
them to be 3px, 2px, and 1px. No matter what width the user agent
uses for each keyword, it will be the same throughout the document,
regardless of where the border occurs. So if medium is the same as
2px, then a medium-width border will always be two pixels wide,
whether the border surrounds an h1 or a p element. Figure 8-22
illustrates one way to handle these three keywords, as well as how they
relate to each other and to the content they surround.
Let’s suppose a paragraph has a background color and a border style set:
p{background-color:silver;border-style:solid;}
The border’s width is, by default, medium. We can change that easily
enough:
p{background-color:silver;border-style:solid;border-width:thick;}
Of course, border widths can be taken to fairly ridiculous extremes, such as setting 50-pixel borders, as depicted in Figure 8-23:
p{background-color:silver;padding:0.5em;border-style:solid;border-width:50px;}
It’s also possible to set widths for individual sides, using two
familiar methods. The first is to use any of the specific properties
mentioned at the beginning of the section, such as
border-bottom-width. The other way is to use value replication in
border-width, which is illustrated in Figure 8-24:
h1{border-style:dotted;border-width:thin0;}p{border-style:solid;border-width:15px2px8px5px;}
So far, we’ve talked only about using a visible border style such as
solid or outset. Let’s consider what happens when you set
border-style to none:
p{border-style:none;border-width:20px;}
Even though the border’s width is 20px, the style is set to none. In
this case, not only does the border’s style vanish, so does its width.
The border just ceases to be. Why?
If you’ll remember, the terminology used earlier in the chapter was that
a border with a style of none does not exist. Those words were
chosen very carefully, because they help explain what’s going on here.
Since the border doesn’t exist, it can’t have any width, so the width is
automatically set to 0 (zero), no matter what you try to define. After
all, if a drinking glass is empty, you can’t really describe it as being
half-full of nothing. You can discuss the depth of a glass’s contents
only if it has actual contents. In the same way, talking about the width
of a border makes sense only in the context of a border that exists.
This is important to keep in mind because it’s a common mistake to
forget to declare a border style. This leads to all kinds of author
frustration because, at first glance, the styles appear correct. Given
the following rule, though, no h1 element will have a border of any
kind, let alone one that’s 20 pixels wide:
h1{border-width:20px;}
Since the default value of border-style is none, failure to declare
a style is exactly the same as declaring border-style: none.
Therefore, if you want a border to appear, you need to declare a border
style.
Compared to the other aspects of borders, setting the color is pretty
easy. CSS uses the single property border-color, which can accept up
to four color values at one time.
If there are fewer than four values, value replication takes effect as
usual. So if you want h1 elements to have thin gray top and bottom
borders with thick green side borders, and medium gray borders around
p elements, the following styles will suffice, with the result shown
in Figure 8-25:
h1{border-style:solid;border-width:thinthick;border-color:graygreen;}p{border-style:solid;border-color:gray;}
A single color value will be applied to all four sides, as
with the paragraph in the previous example. On the other hand, if you
supply four color values, you can get a different color on each side.
Any type of color value can be used, from named colors to hexadecimal
and RGBA values:
p{border-style:solid;border-width:thick;border-color:blackrgba(25%,25%,25%,0.5)#808080silver;}
As mentioned earlier, if you don’t declare a color, the default color is the foreground color of the element. Thus, the following declaration will be displayed as shown in Figure 8-26:
p.shade1{border-style:solid;border-width:thick;color:gray;}p.shade2{border-style:solid;border-width:thick;color:gray;border-color:black;}
The result is that the first paragraph has a gray border, having taken
the value gray from the foreground color of the paragraph. The second
paragraph, however, has a black border because that color was explicitly
assigned using border-color.
There are single-side border color properties as well. They work in much the same way as the single-side properties for style and width. One way to give headings a solid black border with a solid gray right border is as follows:
h1{border-style:solid;border-color:black;border-right-color:gray;}
As you may recall, if a border has no style, then it has no width. There
are, however, situations where you’ll want to create an invisible border
that still has width. This is where the border color value transparent
(introduced in CSS2) comes in.
Let’s say we want a set of three links to have borders that are invisible by default, but look inset when the link is hovered. We can accomplish this by making the borders transparent in the nonhovered case:
a:link,a:visited{border-style:inset;border-width:5px;border-color:transparent;}a:hover{border-color:gray;}
This will have the effect shown in Figure 8-27.
In a sense, transparent lets you use borders as if they were extra
padding, with the additional benefit of being able to make them visible
should you so choose. They act as padding because the background of the
element extends into the border area by default, assuming there is a
visible background.
Unfortunately, shorthand properties such as border-color and
border-style aren’t always as helpful as you’d think. For example, you
might want to apply a thick, gray, solid border to all h1 elements,
but only along the bottom. If you limit yourself to the properties we’ve
discussed so far, you’ll have a hard time applying such a border. Here
are two examples:
h1{border-bottom-width:thick;/* option #1 */border-bottom-style:solid;border-bottom-color:gray;}h1{border-width:00thick;/* option #2 */border-style:nonenonesolid;border-color:gray;}
Neither is really convenient, given all the typing involved. Fortunately, a better solution is available:
h1{border-bottom:thicksolidrgb(50%,40%,75%);}
This will apply the values to the bottom border alone, as shown in
Figure 8-28, leaving the others to their defaults. Since the default border
style is none, no borders appear on the other three sides of the
element.
As you may have already guessed, there are a total of four such shorthand properties.
It’s possible to use these properties to create some complex borders, such as those shown in Figure 8-29:
h1{border-left:3pxsolidgray;border-right:green0.25emdotted;border-top:thickgoldenrodinset;border-bottom:doublergb(13%,33%,53%)10px;}
As you can see, the order of the actual values doesn’t really matter. The following three rules will yield exactly the same border effect:
h1{border-bottom:3pxsolidgray;}h2{border-bottom:solidgray3px;}h3{border-bottom:3pxgraysolid;}
You can also leave out some values and let their defaults kick in, like this:
h3{color:gray;border-bottom:3pxsolid;}
Since no border color is declared, the default value (the element’s
foreground) is applied instead. Just remember that if you leave out a
border style, the default value of none will prevent your border from
existing.
By contrast, if you set only a style, you will still get a border. Let’s
say you want a top border style of dashed and you’re willing to
let the width default to medium and the color be the same as the text
of the element itself. All you need in such a case is the following
markup (shown in Figure 8-30):
p.roof{border-top:dashed;}
Also note that since each of these border-side properties applies only to a specific side, there isn’t any possibility of value replication—it wouldn’t make any sense. There can be only one of each type of value: that is, only one width value, only one color value, and only one border style. So don’t try to declare more than one value type:
h3{border-top:thinthicksolidpurple;}/* two width values--WRONG */
In such a case, the entire statement will be invalid and a user agent would ignore it altogether.
Now, we come to the shortest shorthand border property of all: border.
This property has the advantage of being very compact, although that
brevity introduces a few limitations. Before we worry about that, let’s
see how border works. If you want all h1 elements to have a thick
silver border, the following declaration would be displayed as
shown in Figure 8-31:
h1{border:thicksilversolid;}
The values are applied to all four sides. This is certainly preferable to the next-best alternative, which would be:
h1{border-top:thicksilversolid;border-bottom:thicksilversolid;border-right:thicksilversolid;border-left:thicksilversolid;}/* same result as previous example */
The drawback with border is that you can define only global styles,
widths, and colors. In other words, the values you supply for border
will apply to all four sides equally. If you want the borders to be
different for a single element, you’ll need to use some of the other
border properties. Then again, it’s possible to turn the cascade to your
advantage:
h1{border:thickgoldenrodsolid;border-left-width:20px;}
The second rule overrides the width value for the left border assigned
by the first rule, thus replacing thick with 20px, as you can see in
Figure 8-32.
You still need to take the usual precautions with shorthand properties: if you omit a value, the default will be filled in automatically. This can have unintended effects. Consider the following:
h4{border-style:dashedsoliddouble;}h4{border:mediumgreen;}
Here, we’ve failed to assign a border-style in the second rule, which
means that the default value of none will be used, and no h4
elements will have any border at all.
Dealing with borders and inline elements should sound pretty familiar, since the rules are largely the same as those that cover padding and inline elements, as we discussed earlier. Still, I’ll briefly touch on the topic again.
First, no matter how thick you make your borders on inline elements, the line height of the element won’t change. Let’s set top and bottom borders on boldfaced text:
strong{border-top:10pxsolidhsl(216,50%,50%);border-bottom:5pxsolid#AEA010;}
Once more, this syntax is allowed in the specification, but it will have absolutely no effect on the line height. However, since borders are visible, they’ll be drawn—as you can see for yourself in Figure 8-33.
The borders have to go somewhere. That’s where they went.
Again, all of this is true only for the top and bottom sides of inline elements; the left and right sides are a different story. If you apply a left or right border, not only will they be visible, but they’ll displace the text around them, as you can see in Figure 8-34:
strong{border-left:25pxdoublehsl(216,50%,50%);background:silver;}
With borders, just as with padding, the browser’s calculations for line breaking are not directly affected by any box properties set for inline nonreplaced elements. The only effect is that the space taken up by the borders may shift portions of the line over a bit, which may in turn change which word is at the end of the line.
The way borders are (or aren’t) drawn at the ends of each line
box can be altered with the property box-decoration-break. See Chapter 7 for more details.
With replaced elements such as images, on the other hand, the effects are very much like those we saw with padding: a border will affect the height of the lines of text, in addition to shifting text around to the sides. Thus, assuming the following styles, we get a result like that seen in Figure 8-35.
img{border:1emsolidrgb(216,108,54);}
It’s possible to soften the harsh corners of element borders by using the property border-radius to define a rounding distance (or two). In this particular case, we’re actually going to start with the shorthand property and then mention the individual properties at the end of the section.
The radius of a border is the radius of a circle or ellipse, one quarter of which is used to define the path of the border’s rounding. We’ll start with circles, because they’re a little easier to understand.
Suppose we want to round the corner of an element so that each corner has pretty obviously rounded. Here’s one way to do that:
#example{border-radius:2em;}
That will have the result shown in Figure 8-36, where circle diagrams have been added to two of the corners. (The same rounding is done in all four corners.)
Focus on the top left corner. There, the border begins to curve 2 em below the top of the border, and 2 em to the right of the left side of the border. The curve follows along the outside of the 2-em-radius circle.
If we were to draw a box that just contained the part of the top left corner that was curved, that box would be 2em wide and 2em tall. The same thing would happen in the bottom right corner.
With single length values, we get circular corner rounding shapes. If a single percentage is used, the results are far more oval. For example, consider the following, illustrated in Figure 8-37.
#example{border-radius:33%;}
Again, let’s focus on the top left corner. On the left edge, the border curve begins at the point 33% of the element box’s height down from the top. In other words, if the element box is 100 pixels tall from top border edge to bottom border edge, the curve begins 33 pixels from the top of the element box.
Similarly, on the top edge, the curve begins at the point 33% of the element box’s width from the left edge. So if the box is (say) 600 pixels wide, the curve begins 198 pixels from the left edge, because 600 * 0.33 = 198.
The shape of the curve between those two points is identical to the top left edge of an ellipse whose horizontal radius is 198 pixels long, and whose vertical radius is 33 pixels long. (This is the same as an ellipse with a horizontal axis of 396 pixels and a vertical axis of 66 pixels.)
The same thing is done in each corner, leading to a set of corner shapes that mirror each other, rather than being identical.
Supplying a single length or percentage value for border-radius means all four corners will have the same rounding shape. As you may have spotted in the syntax definnition, similar to padding or some other shorthands like border-style, you can supply border-radius with up to four values. They go in clockwise order from top left to bottom left, like so:
#example{border-radius:1em/* Top Left */2em/* Top Right */3em/* Bottom Right */4em;/* Bottom Left */}
This TL-TR-BR-BL can be remembered with the mnemonic “TiLTeR BuRBLe,” if you’re inclined to such things. The important thing is that the rounding starts in the top left, and works its way clockwise from there.
If a value is left off, then the missing values are filled in using a pattern like that used for padding and so on. If there are three values, the fourth is copied from the second. If there are two, the third is copied from the first and the fourth from the second. Just one, and the missing three are copied from the first. Thus, the following two rules are identical, and will have the result shown in Figure 8-38.
#example{border-radius:1em2em3em2em;}#example{border-radius:1em2em3em;/* BL copied from TR */}
There’s an important aspect to Figure 8-38: the rounding of the content area’s background along with the rest of the background. See how the silver curves, and the period sits outside it? That’s the expected behavior in a situation where the content area’s background is different than the padding background (we’ll see how to do that in the next chapter) and the curving of a corner is large enough to affect the boundary between content and padding.
This is because while border-radius changes how the border and background(s) of an element are drawn, it does not change the shape of the element box. Consider the situation depicted in Figure 8-39.
There, we can see an element that’s been floated to the left, and other text flowing past it. The border corners have been completely rounded off using border-radius: 50%, and some of its text is sticking out past the rounded corners. Beyond the rounded corners, we can also see the page background visible where the corners would have been, were they not rounded.
So at a glance, you might assume that the element has been reshaped from box to circle (technically ellipse), and the text just happens to stick out of it. But look at the text flowing past the float. It doesn’t flow into the area the rounded corners “left behind.” That’s because the corners of the floated element are still there. They’re just not visibly filled by border and background, thanks to border-radius.
And what happens if a radius value is so large that it would spill into other corners? For example, what happens with border-radius: 100%? Or border-radius: 9999px on an element that’s nowhere near ten thousand pixels tall or wide?
In any such case, the rounding is “clamped” to the maximum it can be for a given quadrant of the element. Making sure that buttons always look little medical lozenges can be done like so:
.button{border-radius:9999em;}
That will just cap off the shortest ends of the element (usually the left and right sides, but no guarantees) to be smooth semicircular caps.
Now that we’ve seen how assigning a single radius value to a corner shapes it, let’s talk about what happens when corners get two values—and, more importantly, how they get those values.
For example, suppose we want corners to be rounded by 3 character units horizontally, and 1 character unit vertically. We can’t just say border-radius: 3ch 1ch because that will round the top left and bottom right corners by 3ch, and the other two corners by 1ch each. Inserting a forward slash will get us what we’re after:
#example{border-radius:3ch/1ch;}
This is functionally equivalent to saying:
#example{border-radius:3ch3ch3ch3ch/1ch1ch1ch1ch;}
The way this syntax works, the horizontal radius of each corner’s rounding ellipse is given, and then after the slash, the vertical radius of each corner is given. In both cases, the values are in “TiLTeR BuRBLe” order.
Here’s a simpler example, illustrated in Figure 8-40:
#example{border-radius:1em/2em;}
Each corner is rounded by 1em along the horizontal axis, and 2em along the vertical axis, in the manner we saw in detail in the previous section.
Here’s a slightly more complex version, providing two lengths to either side of the slash, as depicted in Figure 8-41:
#example{border-radius:1em2em/2em3em;}
In this case, the top left and bottom right corners are curved 1em along the horizontal axis, and 2em along the vertical axis. The top right and bottom left corners, on the other hand, are curved 2em along the horizontal and 3 along the vertical.
However! Don’t think the 1em 2em to the left of the slash defines the first corner set, and the 2em 3em to the right of the slash defines the second. Remember, it’s horizontal values before the slash, and vertical after. If we’d wanted to make the top left and bottom right corners be rounded 1em horizontally and 1em vertically (a circular rounding), the values would have been written like so:
#example{border-radius:1em2em/1em3em;}
Percentages are also fair game here. If we want to round the corners of an element so that the sides are fully rounded but only extend 2 character units into the element horizontally, we’d write it like so:
#example{border-radius:2ch/50%;}
So far, the corners we’ve rounded have been pretty simple—always the same width, style and color. That won’t always be the case, though. What happens if a tick red solid border is rounded into a thin dashed green border?
The specification directs that the rounding cause as smooth a blend as possible when it comes to the width. In other words, when rounding from a thicker border to a thinner border, the width of the border should gradually shrink throughout the curve of the rounded corner.
When it comes to differing styles and colors, the specification is less clear about how this should be accomplished. Consider the various samples shown in Figure 8-42.
The first is a simple rounded corner, with no variation in color, width, or style. The second shows rounding from one thickness to another. You can visualize this second case as a shape defined by a circular shape on the outer edge and en elliptical shape on the inner edge.
In the third case, the color and thickness stay the same, but the corner curves from a solid style on the left to a double-line style on top. The transition between styles is abrupt, and occurs at the halfway point in the curve.
The fourth example shows a transition from a thick solid to a thinner double border. Note the placement of the transition, which is not at the halfway point. It is instead determined by taking the ratio of the two borders’ thicknesses, and using that to find the transition point. Let’s assume the left border is 10px thick and the top border 5px thick. By summing the two to get 15px, the left border gets 2/3 (10/15) and the top border 1/3 (5/15). Thus, the left border’s style is used in two-thirds of the curve, and the top border‘s style in one-third the curve. The width is still smoothly changed over the length of the curve.
The fifth and sixth examples show what happens with color added to the mix. Effectively, the color stays linked to the style. This hard transition between colors is common behavior amongst browsers as of late 2017, but it may not always be so. The specification explicitly states that user agents may blend from one border color to another by using a linear gradient. Perhaps one day they will, but for now, the changeover is instantaneous.
The seventh example in Figure 8-42 shows a case we haven’t really discussed which is: “What happens if the borders are equal to or thicker than the value of border-radius?” In the case, the outside of the corner is rounded, but the inside is not, as shown. This would occur in a case like the following:
#example{border-style:solid;border-color:tanred;border-width:20px;border-radius:20px;}
After that tour of border-radius, you might be wondering if maybe you could just round one corner at a time. Yes, you can!
Each property sets the curve shape for its corner, and doesn’t affect the others. The fun part is that if you supply two values, one for the horizontal radius and one for the vertical radius, there is not a slash separating them. Really. This means that the following two rules are functionally equivalent:
#example{border-radius:1.5em2vw20%0.67ch/2rem1.2vmin1cm10%;}#example{border-top-left-radius:1.5em2rem;border-top-right-radius:2vw1.2vmin;border-bottom-right-radius:20%1cm;border-bottom-left-radius:0.67ch10%;}
The individual corner border radius properties are mostly useful for scripting, or for setting a common corner rounding and then overriding just one. Thus, a right-hand-tab shape could be done as follows:
.tabs{border-radius:2em;border-bottom-left-radius:0;}
One thing to keep in mind that, as we’ve seen, corner shaping affects the background and (potentially) the padding and content areas of the element, but not any image borders. Wait a minute, image borders? What are those? Glad you asked!
The various border styles are nice enough, but are still fairly limited. What if you want to create a really complicated, visually rich border around some of your elements? Back in the day, we’d create complex multirow tables to achieve that sort of effect, but thanks to the image borders added to CSS in the recent past, there’s almost no limit to the kinds of borders you can create.
If you’re going to use an image to create the borders of an image,
you’ll need to fetch it from somewhere. border-image-source is how you
tell the browser where to look for it.
Let’s load an image of a single circle to be used as the border image, using the following styles, whose result is shown in Figure 8-43:
border:25pxsolid;border-image-source:url(i/circle.png);
There are a number of things to note here. First, without the
border: 25px solid declaration, there would have been no border at
all. Remember, if the value of border-style is none, then the width
of the border is zero. So in order to make a border image appear, you
need to declare a border-style value other than none. It doesn’t
have to be solid. Second, the value of border-width determines the
actual width of the border images. Without a declared value, it will
default to medium, which is in the vicinity of 3 pixels. (Actual value
may vary.)
OK, so we set up a border area 25 pixels wide, and then applied an
image to it. That gave us the same circle in each of the four corners.
But why did it only appear there, and not along the sides? The answer to
that is found in the way border-image-slice is defined.
What border-image-slice does is set up a set of four slice-lines that
are laid over the image, and where they fall determines how the image
will be sliced up for use in an image border. It takes up to four
values, defining (in order) offsets from the top, right, bottom, and
left edges. Yep, there’s that TRBL pattern again! And value replication
is also in effect here, so one value is used for all four offsets.
Figure 8-44 shows a small sampling of offset patterns, all based on
percentages.
Now let’s take an image that has a 3 × 3 grid of circles, each a different color, and slice it up for use in an image border. Figure 8-45 shows a single copy of this image and the resulting image border:
border:25pxsolid;border-image-source:url(i/circles.png);border-image-slice:33.33%;
Yikes! That’s…interesting. The stretchiness of the sides is actually the default behavior, and it makes a fair amount of sense, as we’ll see (and find out how to change) in the upcoming section, “Altering the repeat pattern”. Beyond that effect, you can see in Figure 8-45 that the slice-lines fall right between the circles, because the circles are all the same size and so one-third offsets place the slice-lines right between them. The corner circles go into the corners of the border, and each side’s circle is stretched out to fill its side.
(Wait, what happened to the gray circle in the middle? you may wonder. It’s an interesting question! For now, just accept it as one of life’s little mysteries, albeit a mystery that will be explained later in this section.)
All right, so why did our first border image example, back at the
beginning of the section, only place images in the corners of the border
area instead of all the way around it? Because there’s an interesting
wrinkle in the way border-image-slice is defined. Here’s how the
relevant bits of the specification read:
if the sum of the right and left [
border-image-slice] widths is equal to or greater than the width of the image, the images for the top and bottom edge and the middle part are empty…Analogously for the top and bottom values.
In other words, any time the slice-lines meet or go past each other, the
corner images are created but the side images are made empty. This is
easiest to visualize with border-image-slice: 50%. In that case, the
image is sliced into four quadrants, one for each corner, with nothing
remaining for the sides. However, any value above 50% has the same
basic result, even though the image isn’t sliced into neat quadrants anymore. Thus, for border-image-slice: 100%—which is the default
value—each corner gets the entire image, and the sides are left empty. A
few examples of this effect are shown in Figure 8-46.
That’s why we had to have a 3 × 3 grid of circles when we wanted to go all the way around the border area, corners, and sides.
In addition to percentage offsets, it’s also possible to define the offsets using a number. Not a length, as you might assume, but a bare number. In raster images like PNGs or JPEGs, the number corresponds to pixels in the image on a 1:1 basis. If you have a raster image where you want to define 25-pixel offsets for the slice-lines, this is how to do that, as illustrated in Figure 8-47:
border:25pxsolid;border-image-source:url(i/circles.png);border-image-slice:25;
Yikes again! What happened there is that the raster image is 150 × 150 pixels, so each circle is 50 × 50 pixels. Our offsets, though, were
only 25, as in 25 pixels. So the slice-lines were placed on the image
as shown in Figure 8-48.
This begins to give an idea of why the default behavior for the side images is to stretch them. Note how the corners flow into the sides, visually speaking.
Number offsets don’t scale when changes are made to an image and its size, whereas percentages do. The interesting thing about number offsets is that they work just as well on non-raster images, like SVGs, as they do on rasters. So do percentages. In general, it’s probably best to use percentages for your slicing offsets whenever possible, even if means doing a little math to get exactly the right percentages.
Now let’s address the curious case of the image’s center. In the
previous examples, there’s a circle at the center of the 3 × 3 grid of
circles, but it disappears when the image is applied to the border. In
the last example, in fact, it wasn’t just the middle circle that was
missing, but the entire center slice. This dropping of the center slice
is the default behavior for image-slicing, but you can override it by
adding a fill keyword to the end of your border-image-slice value.
If we add fill to the previous example, as shown here, we’ll get the
result shown in Figure 8-49:
border:25pxsolid;border-image-source:url(i/circles.png);border-image-slice:25fill;
There’s the center slice, filling up the element’s background area. In fact, it’s drawn over top of whatever background the element might have, so you can use it as a substitute for the background, or as an addition to it.
You may have noticed that all our border areas have been a consistent
width (usually 25px). This doesn’t have to be the case, regardless of
how the border image is actually sliced up. Suppose we take the circles
border image we’ve been using, slice it by thirds as we have, but make
the border widths different. That would have a result like that shown in
Figure 8-50:
border-style:solid;border-width:20px40px60px80px;border-image-source:url(i/circles.png);border-image-slice:50;
Even though the slice-lines are intrinsically set to 50 pixels (via
50), the resulting slices are resized to fit into the border areas
they occupy.
Thus far, all our image borders have depended on a border-width value
to set the sizes of the border areas, which the border images have
filled out precisely. That is, if the top border side is 25 pixels tall,
the border image that fills it will be 25 pixels tall. In cases where
you want to make the images a different size than the area defined by
border-width, there’s border-image-width.
The basic thing to understand about border-image-width is that it’s
very similar to border-image-slice, except what border-image-width
slices up is the border box itself.
To understand what this means, let’s start with length values. We’ll set up 1 em border widths like so:
border-image-width:1em;
What that does is push slice-lines 1 em inward from each of the border area’s sides, as shown in Figure 8-51.
So the top and bottom border areas are 1 em tall, the right and left
border areas are 1 em wide, and the corners are each 1 em tall and wide.
Given that, the border images created with border-image-slice are
filled into those border areas in the manner prescribed by
border-image-repeat (which we’ll get to shortly). Thus, the following
styles give the result shown in Figure 8-52:
border-image-width:1em;border-image-slice:33.3333%;
Note that these areas are sized independently from the value of
border-width. Thus, in Figure 8-52, we could have had a border-width of
zero and still made the border images show up, by using
border-image-width. This is useful if you want to have a solid
border as a fallback in case the border image doesn’t load, but don’t
want to make it as thick as the image border would be. Something like
this:
border:2pxsolid;border-image-source:url(stars.gif);border-image-width:12px;border-image-slice:33.3333%;
This allows for a 12-pixel star border to be replaced with a 2-pixel solid border if border images aren’t available. Remember that if the image border does load, you’ll need to leave enough space for it to show up without overlapping the content! (By default, that is. We’ll see how to mitigate this problem in the next section.)
Now that we’ve established how the width slice-lines are placed, the way percentage values are handled should make sense, as long as you keep in mind that the offsets are with respect to the overall border box, not each border side. For example, consider the following declaration, illustrated in Figure 8-53:
border-image-width:33%;
As with length units, the lines are offset from their respective sides
of the border box. The distance they travel is with respect to the
border box. A common mistake is to assume that a percentage
value is with respect to the border area defined by border-width; that
is, given a border-width value of 30px, the result of
border-image-width: 33.333%; will be 10 pixels. But no! It’s
one-third the overall border box along that axis.
One way in which the behavior of border-image-width differs from
border-image-slice is in how it handles situations where the slices
pass each other, such as in this situation:
border-image-width:75%;
If you recall, for border-image-slice, if the slices passed each
other, then the side areas (top, right, bottom, and/or left) are made
empty. With border-image-width, the values are proportionally reduced
until they don’t. So, given the preceding value of 75%, the browser will
treat that as if it were 50%. Similarly, the following two
declarations will have equivalent results:
border-image-width:25%80%25%40%;border-image-width:25%66.6667%25%33.3333%;
Note how in both declarations, the right offset is twice the left value. That’s what’s meant by proportionally reducing the values until they don’t overlap: in other words, until they no longer add up to more than 100%. The same would be done with top and bottom, were they to overlap.
When it comes to number values for border-image-width, things get even
more interesting. If you set border-image-width: 1, then the border
image areas will be determined by the value of border-width. That’s
the default behavior. Thus, the following two declarations will have the
same result:
border-width:1em2em;border-image-width:1em2em;border-width:1em2em;border-image-width:1;
You can increase or reduce the number values in order to get
some multiple of the border area that border-width defines. A few
examples of this can be seen in Figure 8-54.
In each case, the number has been multipled by the border area’s width
or height, and the resulting value is how far in the offset is placed from
the relevant side. Thus, for an element where border-top-width is 3
pixels, border-image-width: 10 will create a 30-pixel offset from the
top of the element. Change border-image-width to 0.333, and the top
offset will be a lone pixel.
The last value, auto, is interesting in that its resulting values
depend on the state of two other properties. If border-image-slice is
defined, then border-image-width: auto uses the values that result
from border-image-slice. Otherwise, it uses the values that result
from border-width. These two declarations will have the
same result:
border-width:1em2em;border-image-width:auto;border-image-slice:1em2em;border-image-width:auto;
This differs from border-image-width: 1 because number values
like 1 always relate to the value of border-width, regardless of
what border-image-slice might say.
Note that you can mix up the value types for border-image-width. The
following are all valid, and would be quite interesting to try out in
live web pages:
border-image-width:auto10px;border-image-width:515%auto;border-image-width:0.42em13%3.14auto;
Well, now that we can define these great big image slices and widths,
what do we do to keep them from overlapping the content? We could add
lots of padding, but that would leave huge amounts of space if the image
fails to load, or if the browser doesn’t support border images. Handling
such scenarios is what border-image-outset is built to manage.
Regardless of whether you use a length or a number,
border-image-outset pushes the border image area outward, beyond the
border box, in a manner similar to how slice-lines are offset. The
difference is that here, the offsets are outward, not inward. Just as
with border-image-width, number values for border-image-outset are a
multiple of the width defined by border-width—not
border-image-width.
To see how this could be helpful, imagine a scenario where we want to use a border image, but have a fallback of a thin solid border if the image isn’t available. We might start out like this:
border:2pxsolid;padding:0.5em;border-image-slice:10;border-image-width:1;
In this case, there’s half an em of padding; at default browser settings, that will be about eight pixels. That plus the 2-pixel solid border make a distance of 10 pixels from the content edge to the outer border edge. So if the border image is available and rendered, it will fill not only the border area, but also the padding, bringing it right up against the content.
We could increase the padding to account for this, but then if the image doesn’t appear, we’ll have a lot of excess padding between the content and the thin solid border. Instead, let’s push the border image outward, like so:
border:2pxsolid;padding:0.5em;border-image-slice:10;border-image-width:1;border-image-outset:8px;
This is illustrated in Figure 8-55, and compared to situation where there’s no outset and no border image.
In the first case, the image border has been pushed out far enough that rather than overlapping the padding area, the images actually overlap the margin area! We can also split the difference so that the image border is roughly centered on the border area, like this:
border:2pxsolid;padding:0.5em;border-image-slice:10;border-image-width:1;border-image-outset:2;/* twice the `border-width` value */
What you have to watch out for is pulling the image border too far outward, to the point that it overlaps other content or gets clipped off by the edges of the browser window (or both).
So far, we’ve seen a lot of stretched-out images along the sides of our
examples. The stretching can be very handy in some situations, but a
real eyesore in others. With border-image-repeat, you can change how
those sides are handled.
Let’s see these values in action and then discuss each in turn.
We’ve already seen stretch, so the effect is familiar. Each side gets a
single image, stretched to match the height and width of the border side
area the image is filling.
repeat has the image tile until it fills up all the space in its
border side area. The exact arrangement is to center the image in its
side box, and then tile copies of the image outward from that point,
until the border side area is filled. This can lead to some of the
repeated images being clipped at the sides of the border area, as seen
in Figure 8-56.
round is a little different. With this value, the browser divides the
length of the border side area by the size of the image being repeated
inside it. It then rounds to the nearest whole number and repeats that
number of images. In addition, it stretches or squashes the images so
that they just touch each other as they repeat.
As an example, suppose the top border side area is 420 pixels wide, and the image being tiled is 50 pixels wide. 420 divided by 50 is 8.4, so that’s rounded to 8. Thus, 8 images are tiled. However, each is stretched to be 52.5 pixels wide (420 ÷ 8 = 52.5). Similarly, if the right border side area is 280 pixels tall, a 50-pixel-tall image will be tiled 6 times (280 ÷ 50 = 5.6, rounded to 6) and each image will be squashed to be 46.6667 pixels tall (280 ÷ 6 = 46.6667). If you look closely at Figure 8-56, you can see the top and bottom circles are a stretched a bit, whereas the right and left circles show some squashing.
The last value, space, starts out similar to round, in that the
border side area’s length is divided by the size of the tiled image and
then rounded. The differences are that the resulting number is always
rounded down, and images are not distorted, but instead distributed
evenly throughout the border area.
Thus, given a top border side area 420 pixels wide and a 50-pixel-wide
image to be tiled, there will still be 8 images to repeat (8.4 rounded
down is 8). The images will take up 400 pixels of space, leaving 20
pixels. That 20 pixels is divided by 8, which is 2.5 pixels. Half of that
is put to each side of each image, meaning each image gets 1.25 pixels
of space to either side. That puts 2.5 pixels of space between each
image, and 1.25 pixels of space before the first and after the last
image. Figure 8-57 shows a few examples of space repeating.
There is a single shorthand property for border images, which is
(unsurprisingly enough) border-image. It’s a little unusual in how
it’s written, but it offers a lot of power without a lot of typing.
This property has, it must be admitted, a somewhat unusual value syntax.
In order to get all the various properties for slices and widths and
offsets, and be able to tell which was which, the decision was made to
separate them by solidus symbols (/) and require them to be listed in a specific order: slice, then width, then offset. The
image source and repeat values can go anywhere
outside of that three-value chain. Therefore, the following rules are
equivalent:
.example{border-image-source:url(eagles.png);border-image-slice:40%30%20%fill;border-image-width:10px7px;border-image-outset:5px;border-image-repeat:space;}.example{border-image:url(eagles.png)40%30%20%fill/10px7px/5pxspace;}.example{border-image:url(eagles.png)space40%30%20%fill/10px7px/5px;}.example{border-image:space40%30%20%fill/10px7px/5pxurl(eagles.png);}
The shorthand clearly means less typing, but also less clarity at a glance.
As is usually the case with shorthand properties, leaving out any of the individual pieces means that the defaults will be supplied. For example, if we just supply an image source, the rest of the properties will get their default values. Thus, the following two declarations will have exactly the same effect:
border-image:url(orbit.svg);border-image:url(orbit.svg)stretch100%/1/0;
Border images can be tricky to internalize, conceptually speaking, so it’s worth looking at some examples of ways to use them.
First, let’s look at how to set up a border with scooped-out corners and a raised appearance, like a plaque, with a fallback to a simple outset border of similar colors. We might use something like these styles and an image, which is shown in Figure 8-58, along with both the final result and the fallback result:
#plaque{padding:10px;border:3pxoutsetgoldenrod;background:goldenrod;border-image-source:url(i/plaque.png);border-image-repeat:stretch;border-image-slice:20fill;border-image-width:12px;border-image-outset:9px;}
Notice how the side slices are perfectly set up to be
stretched—everything about them is just repeated strips of color along
the axis of stretching. They could also be repeated or rounded, of
course, if not rounded, but stretching works just fine. And since that’s
the default value, we could have omitted the border-image-repeat
declaration altogether.
Next, let’s try to create something oceanic: an image border that has
waves marching all the way around the border. Since we don’t know how
wide or tall the element will be ahead of time, and we want the waves to
flow from one to another, we’ll use round to take advantage of its
scaling behavior while getting in as many waves as will reasonably fit.
You can see the result in Figure 8-59, along with the image that’s used to
create the effect:
#oceanic{border:2pxsolidblue;border-image:url(waves.png)50fill/20px/10pxround;}
There is one thing to be wary of here, which is what happens if you add in an element background. Just to make the situation clear, we’ll add a red background to this element, with the result shown in Figure 8-60:
#oceanic{background:red;border:2pxsolidblue;border-image:url(waves.png)50fill/20px/10pxround;}
See how the red is visible between the waves? That’s because the wave
image is a PNG with transparent bits, and because of the combination of
image-slice widths and outset, some of the background area is visible
through the transparent parts of the border. This can be a problem,
because there will be cases where you want to use a background color in
addition to an image border—for the fallback case where the image fails
to appear, if nothing else. Generally, this is a problem best addressed
by either not needing a background for the fallback case, or else using
border-image-outset to pull the image out far enough that no part of
the background area is visible.
As you can see, there is a lot of power in border images. Be sure to use them wisely.
CSS defines a special sort of element decoration called an outline. In practice, outlines are often drawn just beyond the borders, though (as we’ll see) this is not the whole story. As the specification puts it, outlines differ from borders in three basic ways:
Outlines do not take up space.
Outlines may be nonrectangular.
User agents often render outlines on elements in the :focus state.
To which I’ll add a fourth:
Outlines are an all-or-nothing proposition: you can’t style one side of a border independently from the others.
Let’s start finding out exactly what all that means. First, we’ll run through the various properties, comparing them to their border-related counterparts.
Much as with border-style, you can set a style for your outlines. In
fact, the values will seem very familiar to anyone who’s styled a border
before.
The two major differences are that outlines cannot have a hidden
style, as borders can; and outlines can have auto style. This style
allows the user agent to get extra-fancy with the appearance of the
outline, as explained in the CSS specification:
The
autovalue permits the user agent to render a custom outline style, typically a style which is either a user interface default for the platform, or perhaps a style that is richer than can be described in detail in CSS, e.g. a rounded edge outline with semi-translucent outer pixels that appears to glow.
Beyond those two differences, outlines have all the same styles that borders have, as illustrated in Figure 8-61.
The less obvious difference is that unlike border-style,
outline-style is not a shorthand property. You can’t use it to set a
different outline style for each side of the outline, because outlines
can’t be styled that way. There is no outline-top-style. This is true
for all the rest of the outline properties, with the exception of
outline, which we’ll get to in a bit.
Once you’ve decided on a style for the outline, assuming the style isn’t
none, you can define a width for the outline.
There’s very little to say about outline width that we didn’t already
say about border width. If the outline style is none, then the
outline’s width is set to 0. thick is wider than medium, which is
wider than thin, but the specification doesn’t define exact widths for
these keywords. Figure 8-62 shows a few different outline widths.
As before, the real difference here is that outline-width is not a
shorthand property. You can only set one width for the whole outline, and
cannot set different widths for different sides. (The reasons for this
will soon become clear.)
Does your outline have a style and a width? Great! Let’s give it some color!
This is pretty much the same as border-color, with the caveat that
it’s an all-or-nothing proposition—for example, there’s no
outline-left-color.
The one major difference is the default value, invert. What invert
does is perform a “color conversion” on all pixels within the visible
parts of the outline. This is easier to show than explain, so see Figure 8-63 for the expected results of this style:
h1{outline-style:dashed;outline-width:10px;outline-color:invert;}
The advantage to color inversion is that it can make the outline stand
out in a wide variety of situations, regardless of what’s behind it. There is an exception: if you invert the color gray (or
rgb(50%,50%,50%) or hsl(0,0%,50%) or any of their equivalents), you
get exactly the same color back. Thus, outline-color: invert will make
the outline invisible on a gray background. The same will be true for
background colors that are very close to gray.
As of late 2017, invert was only supported by Microsoft Edge and IE11. Most other browsers treated it as an error and thus used the default color
(the value of color for the element).
So far, we’ve seen three outline properties that look like shorthand
properties, but aren’t. Time for the one outline property that is a
shorthand: outline.
It probably comes as little surprise that, like border, this is a
convenient way to set the overall style, width, and color of an outline.
Figure 8-64 illustrates a variety of outlines.
Thus far, outlines seem very much like borders. So how are they different?
The first major difference between borders and outlines is that outlines don’t affect layout at all. In any way. They’re very purely presentational.
To understand what this means, consider the following styles, illustrated in Figure 8-65:
h1{padding:10px;border:10pxsolidgreen;outline:10pxdashed#9AB;margin:10px;}
Looks normal, right? What you can’t see is that the outline is completely covering up the margin. If we put in a dotted line to show the margin edges, they’d run right along the outside edge of the outline. (We’ll deal with margins in the next section.)
This is what’s meant by outlines not affecting layout. Let’s consider
another example, this time with two span elements that are given
outlines. You can see the results in Figure 8-66:
span{outline:1emsolidrgba(0,128,0,0.5);}span+span{outline:0.5emdoublepurple;}
The outlines don’t affect the height of the lines, but they
also don’t shove the spans to one side or another. The text is laid
out as if the outlines aren’t even there.
This raises an even more interesting feature of outlines: they are not always rectangular, nor are they always contiguous. Consider this outline applied to a strong element that breaks across two lines, as illustrated in two different scenarios in Figure 8-67:
strong{outline:2pxdottedgray;}
In the first case, there are two complete outline boxes, one for each
fragment of the strong element. In the second case, with the longer
strong element causing the two fragments to be stacked together, the
outline is “fused” into a single polygon that encloses the fragments.
You won’t find a border doing that.
This is why there are no side-specific outline properties like
outline-right-style: if an outline becomes nonrectangular, which
sides are the right sides?
As of late 2017, not every browser combined the inline fragments into a single contiguous polygon. In those which did not support this behavior, each fragment was still a self-contained rectangle, as in the first example in Figure 8-67.
The separation between most normal-flow elements occurs because of element margins. Setting a margin creates extra blank space around an element. Blank space generally refers to an area in which other elements cannot also exist and in which the parent element’s background is visible. Figure 8-68 shows the difference between two paragraphs without any margins and the same two paragraphs with some margins.
The simplest way to set a margin is by using the property margin.
Suppose you want to set a quarter-inch margin on h1 elements, as
illustrated in Figure 8-69 (a background color has been added so you can
clearly see the edges of the content area):
h1{margin:0.25in;background-color:silver;}
This sets a quarter-inch of blank space on each side of an h1 element.
In Figure 8-69, dashed lines represent the blank space, but the lines are
purely illustrative and would not actually appear in a web browser.
margin can accept any length of measure, whether in pixels, inches,
millimeters, or ems. However, the default value for margin is
effectively 0 (zero), so if you don’t declare a value, by default, no
margin should appear.
In practice, however, browsers come with preassigned styles for many
elements, and margins are no exception. For example, in CSS-enabled
browsers, margins generate the “blank line” above and below each
paragraph element. Therefore, if you don’t declare margins for the p
element, the browser may apply some margins on its own. Whatever you
declare will override the default styles.
Finally, it’s possible to set a percentage value for margin. The
details of this value type will be discussed in “Percentages and Margins”.
Any length value can be used in setting the margins of an element. It’s easy enough, for example, to apply a 10-pixel whitespace around paragraph elements. The following rule gives paragraphs a silver background, 10 pixels of padding, and a 10-pixel margin:
p{background-color:silver;padding:10px;margin:10px;}
In this case, 10 pixels of space have been added to each side of every
paragraph, just beyond the outer border edge. You can just as easily use
margin to set extra space around an image. Let’s say you want 1 em
of space surrounding all images:
img{margin:1em;}
That’s all it takes.
At times, you might desire a different amount of space on each side of
an element. That’s easy as well, thanks to the value replication
behavior we’ve used before. If you want all h1 elements to have a top
margin of 10 pixels, a right margin of 20 pixels, a bottom margin of 15
pixels, and a left margin of 5 pixels, here’s all you need:
h1{margin:10px20px15px5px;}
It’s also possible to mix up the types of length value you use. You aren’t restricted to using a single length type in a given rule, as shown here:
h2{margin:14px5em0.1in3ex;}/* value variety! */
Figure 8-70 shows you, with a little extra annotation, the results of this declaration.
It’s possible to set percentage values for the margins of an element. As with padding, percentage margins values are computed in relation to the width of the parent element’s content area, so they can change if the parent element’s width changes in some way. For example, assume the following, which is illustrated in Figure 8-71:
p{margin:10%;}
<divstyle="width: 200px; border: 1px dotted;"><p>This paragraph is contained within a DIV that has a width of 200 pixels, so its margin will be 10% of the width of the paragraph's parent (the DIV). Given the declared width of 200 pixels, the margin will be 20 pixels on all sides.</p></div><divstyle="width: 100px; border: 1px dotted;"><p>This paragraph is contained within a DIV with a width of 100 pixels, so its margin will still be 10% of the width of the paragraph's parent. There will, therefore, be half as much margin on this paragraph as that on the first paragraph.</p></div>
Note that the top and bottom margins are consistent with the right and left margins; in other words, the percentage of top and bottom margins is calculated with respect to the element’s width, not its height. We’ve seen this before—in “Padding”, in case you don’t remember—but it’s worth reviewing again, just to see how it operates.
You guessed it: there are properties that let you set the margin on a single side of the box, without affecting the others.
These properties operate as you’d expect. For example, the following two rules will give the same amount of margin:
h1{margin:0000.25in;}h2{margin-left:0.25in;}
An interesting and often overlooked aspect of the top and bottom margins on block boxes is that they collapse. This is the process by which two (or more) margins that interact collapse to the largest of the interacting margins.
The canonical example of this is the space between paragraphs. Generally, that space is set using a rule like this:
p{margin:1em0;}
So that sets every paragraph to have top and bottom margins of 1em. If
margins didn’t collapse, then whenever one paragraph followed another,
there would be two ems of space between them. Instead, there’s only one; the two margins collapse together.
To illustrate this a little more clearly, let’s return to the percentage-margin example, only this time, we’ll add dashed lines to indicate where the margins fall. This is seen in Figure 8-72.
The example shows the separation distance between the contents of the two paragraphs. It’s 60 pixels, because that’s the larger of the two margins that are interacting. The 30-pixel top margin of the second paragraph is collapsed, leaving the first paragraph’s top margin in charge.
So in a sense, Figure 8-72 is lying: if you take the CSS specification strictly at its word, the top margin of the second paragraph is actually reset to zero. It doesn’t stick into the bottom margin of the first paragraph because when it collapses, it isn’t there anymore. The end result is the same, though.
Margin collapsing also explains some oddities that arise when one element is inside another. Consider the following styles and markup:
header{background:goldenrod;}h1{margin:1em;}<header><h1>WelcometoConHugeCo</h1></header>
The margin on the h1 will push the edges of the header away from the
content of the h1, right? Well, not entirely. See Figure 8-73.
What happened? The side margins took effect—we can see that from the way the text is moved over—but the top and bottom margins are gone!
Only they aren’t gone. They’re just sticking out of the header
element, having interacted with the (zero-width) top margin of the
header element. The magic of dashed lines in Figure 8-74 show us what’s
happening.
There they are—pushing away any content that might come before or after
the header element, but not pushing away the edges of the header
itself. This is the intended result, even if it’s often not the desired
result. As for why it’s intended, imagine happens if you put a
paragraph in a list item. Without the specified margin-collapsing
behavior, the paragraph’s top margin would shove it downward, where it
would be far out of alignment with the list item’s bullet (or number).
Margin collapsing can be interrupted by factors such as padding and borders on parent elements. For more details, see the discussion in the section “Collapsing Vertical Margins” in Chapter 7 of Basic Visual Formatting (O’Reilly).
It’s possible to set negative margins for an element. This can cause the element’s box to stick out of its parent or to overlap other elements. Consider these rules, which are illustrated in Figure 8-75:
div{border:1pxsolidgray;margin:1em;}p{margin:1em;border:1pxdashedsilver;}p.one{margin:0-1em;}p.two{margin:-1em0;}
In the first case, the math works out such that the paragraph’s computed
width plus its right and left margins are exactly equal to the width of
the parent div. So the paragraph ends up two ems wider than the
parent element without actually being “wider” (from a mathematical point
of view). In the second case, the negative top and bottom margins
effectively reduce the computed height of the element and move its top
and bottom outer edges inward, which is how it ends up overlapping the
paragraphs before and after it.
Combining negative and positive margins is actually very useful. For example, you can make a paragraph “punch out” of a parent element by being creative with positive and negative margins, or you can create a Mondrian effect with several overlapping or randomly placed boxes, as shown in Figure 8-76:
div{background:hsl(42,80%,80%);border:1pxsolid;}p{margin:1em;}p.punch{background:white;margin:1em-1px1em25%;border:1pxsolid;border-right:none;text-align:center;}p.mond{background:rgba(5,5,5,0.5);color:white;margin:1em3em-3em-3em;}
Thanks to the negative bottom margin for the “mond” paragraph, the bottom of its parent element is pulled upward, allowing the paragraph to stick out of the bottom of its parent.
Margins can also be applied to inline elements. Let’s say you want to set top and bottom margins on strongly emphasized text:
strong{margin-top:25px;margin-bottom:50px;}
This is allowed in the specification, but since you’re applying the margins to an inline nonreplaced element, and margins are always transparent, they will have absolutely no effect on the line height. In effect, they’ll have no effect at all.
As with padding, things change a bit when you apply margins to the left and right sides of an inline nonreplaced element, as illustrated in Figure 8-77:
strong{margin-left:25px;background:silver;}
Note the extra space between the end of the word just before the inline nonreplaced element and the edge of the inline element’s background. You can add that extra space to both ends of the inline element if you want:
strong{margin:25px;background:silver;}
As expected, Figure 8-78 shows a little extra space on the right and left sides of the inline element, and no extra space above or below it.
Now, when an inline nonreplaced element stretches across multiple lines, the situation changes. Figure 8-79 shows what happens when an inline nonreplaced element with a margin is displayed across multiple lines:
strong{margin:25px;background:silver;}
The left margin is applied to the beginning of the element and the right margin to the end of it. Margins are not applied to the right and left side of each line fragment. Also, you can see that, if not for the margins, the line may have broken after “text” instead of after “strongly emphasized.” Margins only affect line breaking by changing the point at which the element’s content begins within a line.
The way margins are (or aren’t) applied to the ends of each line
box can be altered with the property box-decoration-break. See Chapter 7 for more details.
The situation gets even more interesting when we apply negative margins to inline nonreplaced elements. The top and bottom of the element aren’t affected, and neither are the heights of lines, but the left and right ends of the element can overlap other content, as depicted in Figure 8-80:
strong{margin:-25px;background:silver;}
Replaced inline elements represent yet another story: margins set for them do affect the height of a line, either increasing or reducing it, depending on the value for the top and bottom margin. The left and right margins of an inline replaced element act the same as for a nonreplaced element. Figure 8-81 shows a series of different effects on layout from margins set on inline replaced elements.
The ability to apply margins, borders, and padding to any element is one of the things that sets CSS so far above traditional web markup. In the past, enclosing a heading in a colored, bordered box meant wrapping the heading in a table, which is a really bloated and awful way to create so simple an effect. It is this sort of power that makes CSS so compelling.
Remember the first time you changed the colors of a web page? Instead of the default black text on a white background with blue links, all of a sudden you could use any combination of colors you desired—perhaps light blue text on a black background with lime green hyperlinks. From there, it was just a short hop to colored text and, eventually, even to multiple colors for the text in a page. Once you could add background images, too, just about anything became possible, or so it seemed. Cascading Style Sheets (CSS) takes color and backgrounds even further, letting you apply many different colors and backgrounds to a single page or element, and even apply multiple backgrounds to the same element.
When you’re designing a page, you need to plan it out before you start. That’s generally true in any case, but with colors, it’s even more so. If you’re going to make all hyperlinks yellow, will that clash with the background color in any part of your document? If you use too many colors, will the user be too overwhelmed? (Hint: yes.) If you change the default hyperlink colors, will users still be able to figure out where your links are? (For example, if you make both regular text and hyperlink text the same color, it will be much harder to spot links—in fact, almost impossible if the links aren’t underlined.)
In CSS, you can set both the foreground and background colors of any
element. In order to understand how this works, it’s important to
understand what’s in the foreground of an element and what isn’t.
Generally speaking, it’s the text of an element, although the foreground
also includes the borders around the element. Thus, there are two ways
to directly affect the foreground color of an element: by using the
color property, and by setting the border colors using one of a number
of border properties.
The easiest way to set the foreground color of an element is with the
property color.
This property accepts as a value any valid color type, such as #FFCC00
or rgba(100%,80%,0%,0.5).
For nonreplaced elements like paragraphs or em elements, color sets the color of the text in the
element, as illustrated in Figure 9-1, which is the result of the following code:
<pstyle="color: gray;">Thisparagraphhasagrayforeground.</p><p>Thisparagraphhasthedefaultforeground.</p>
In Figure 9-1, the default foreground color is black. That doesn’t have to
be the case, since the user might have set her browser (or other user
agent) to use a different foreground (text) color. If the browser’s
default text color was set to green, the second paragraph in the
preceding example would be green, not black—but the first paragraph
would still be gray.
You need not restrict yourself to such basic operations.
There are plenty of ways to use color. You might have some paragraphs
that contain text warning the user of a potential problem. In order to
make this text stand out more than usual, you might decide to color it
red. Just apply a class of warn to each paragraph that contains
warning text (<p class="warn">) and the following rule:
p.warn{color:red;}
In the same document, you might decide that any unvisited hyperlinks within a warning paragraph should be green:
p.warn{color:red;}p.warna:link{color:green;}
Then you change your mind, deciding that warning text should be dark red, and that unvisited links in such text should be medium purple. The preceding rules need only be changed to reflect the new values, as illustrated in Figure 9-2, which is the result of the following code:
p.warn{color:#600;}p.warna:link{color:#400040;}
Another use for color is to draw attention to certain types of text.
For example, boldfaced text is already fairly obvious, but you could
give it a different color to make it stand out even further—let’s say,
maroon:
b,strong{color:maroon;}
Then you decide that you want all table cells with a class of
highlight to contain light yellow text:
td.highlight{color:#FF9;}
If you don’t set a background color for any of your text, you
run the risk that a user’s setup won’t combine well with your own. For
example, if a user has set his browser’s background to be a pale yellow,
like #FFC, then the previous rule would generate light yellow text on
a pale yellow background. Far more likely is that it’s still the default
background of white, against which light yellow is still going to be hard to read. It’s therefore generally a good idea to set foreground and
background colors together. (We’ll talk about background colors very
shortly.)
The value of color can also affect the borders around an element.
Let’s assume you’ve declared these styles, which have the result shown
in Figure 9-3. This is the result of the following code:
p.aside{color:gray;border-style:solid;}
The element <p class="aside"> has gray text and a gray medium-width
solid border. This is because the foreground color is applied to the
borders by default. Should you desire, you can override this with the
property border-color:
p.aside{color:gray;border-style:solid;border-color:black;}
This rule will make the text gray, while the borders will be black in
color. Any value set for border-color will always override the value
of color.
This “borders get the foreground color” behavior is due to the use of a special color keyword, currentColor. The value of currentColor for any element is the computed value of color. So, somewhere inside the user agent’s default styles, there’s a rule that looks something like this:
*{border-color:currentColor;}
Thus, if you don’t assign a border a color, that built-in rule will pick up the value of color from the element and apply it to any visible borders. If you do assign a border a color, then your color will override the built-in currentColor style.
Thanks to this, you can also change the foreground color of
images. Since images are already composed of colors, you can’t really
affect their content using color, but you can change the color of any border
that appears around the image. This can be done using either color or
border-color. Therefore, the following rules will have the same visual
effect on images of class type1 and type2, as shown in Figure 9-4, which is the result of the
following code:
img.type1{border-style:solid;color:gray;}img.type2{border-style:solid;border-color:gray;}
Setting a value for color should (in theory, anyway) apply to form
elements. Declaring select elements to have dark gray text should be
as simple as this:
select{color:rgb(33%,33%,33%);}
This might also set the color of the borders around the edge of the
select element, or it might not. It all depends on the user agent and
its default styles.
You can also set the foreground color of input elements—although, as you can see in Figure 9-5, doing so would apply that color to all inputs, from text to radio button to checkbox inputs:
select{color:rgb(33%,33%,33%);}input{color:red;}
Note in Figure 9-5 that the text color next to the checkboxes is still
black. This is because the rules shown assign styles only to elements
like input and select, not normal paragraph (or other) text.
Also note that the checkmark in the checkbox is black. This is due to the way form elements are handled in some web browsers, which typically use the form widgets built into the base operating system. Thus, when you see a checkbox and checkmark, they really aren’t content in the HTML document—they’re user interface widgets that have been inserted into the document, much as an image would be. In fact, form inputs are, like images, replaced elements. In theory, CSS does not style the contents of replaced elements.
In practice, the line is a lot blurrier than that, as Figure 9-5 demonstrates. Some form inputs have the color of their text and even portions of their UI changed, while others do not. And since the rules aren’t explicitly defined, behavior is inconsistent across browsers. In short, form elements are deeply tricky to style and should be approached with extreme caution.
As the definition of color indicates, the property is inherited. This
makes sense, since if you declare p {color: gray;}, you probably
expect that any text within that paragraph will also be gray, even if
it’s emphasized or boldfaced or whatever. If you want such
elements to be different colors, that’s easy enough, as illustrated in
Figure 9-6, which is the result of the following code:
em{color:red;}p{color:gray;}
Since color is inherited, it’s theoretically possible to set all of the
ordinary text in a document to a color, such as red, by declaring
body {color: red;}. This should make all text that is not otherwise
styled (such as anchors, which have their own color styles) red.
By default, the background area of an element consists of all of the space behind the foreground out to the outer edge of the borders; thus, the content box and the padding are all part of an element’s background, and the borders are drawn on top of the background. (You can change that to a degree with CSS, as we’ll see shortly.)
CSS lets you apply a solid color to the background of an element, as well as apply one or more images to the background of a single element, or even describe your own linear and radial gradients.
To declare a color for the background of an element, you use
the property background-color, which accepts any
valid color value.
If you want the color to extend out a little bit from the text in the element, add some padding to the mix, as illustrated in Figure 9-7, which is the result of the following code:
p{background-color:#AEA;}p.padded{padding:1em;}
<p>A paragraph.</p><pclass="padded">A padded paragraph.</p>
You can set a background color for just about any element, from body
all the way down to inline elements such as em and a.
The value of background-color is not inherited. Its default value is the keyword transparent, which makes some sense: if an element doesn’t have a defined color, then its background should be transparent so that the background of its ancestor elements will be visible.
One way to picture what that means is to imagine a clear (i.e., transparent) plastic sign mounted to a textured wall. The wall is still visible through the sign, but this is not the background of the sign; it’s the background of the wall (in CSS terms, anyway). Similarly, if you set the page canvas to have a background, it can be seen through all of the elements in the document that don’t have their own backgrounds. They don’t inherit the background; it is visible through them. This may seem like an irrelevant distinction, but as you’ll see when we discuss background images, it’s a critical difference.
Most of the time, you’ll have no reason to use the keyword transparent,
since that’s the default value. On occasion, though, it can be useful.
Imagine that a user has set his browser to make all links have a white
background. When you design your page, you set anchors to have a white
foreground, and you don’t want a background on those anchors. In order
to make sure your design choice prevails, you would declare:
a{color:white;background-color:transparent;}
If you left out the background color, your white foreground would combine with the user’s white background to yield totally unreadable links. This is an unlikely example, but it’s still possible.
The potential combination of author and reader styles is the reason why
a CSS validator will generate warnings such as, “You have no
background-color with your color.” It’s trying to remind you that
author-user color interaction can occur, and your rule has not taken
this possibility into account. Warnings do not mean your styles are
invalid: only errors prevent validation.
By combining color and background-color, you can create some
interesting effects:
h1{color:white;background-color:rgb(20%,20%,20%);font-family:Arial,sans-serif;}
This example is shown in Figure 9-8.
There are as many color combinations as there are colors, and I can’t show all of them here. Still, I’ll try to give you some idea of what you can do.
This stylesheet is a little more complicated, as illustrated by Figure 9-9, which is the result of the following code:
body{color:black;background-color:white;}h1,h2{color:yellow;background-color:rgb(0,51,0);}p{color:#555;}a:link{color:black;background-color:silver;}a:visited{color:gray;background-color:white;}
And then there’s the fascinating question of what happens when you apply a background to a replaced element, such as an image. I’m not even talking about images with transparent portions, like a GIF87a or a PNG. Suppose you want to create a two-tone border around a JPEG. You can pull that off by adding a background color and a little bit of padding to your image, as illustrated in Figure 9-10, which is the result of the following code:
img.twotone{background-color:red;padding:5px;border:5pxsolidgold;}
Technically, the background goes to the outer border edge, but since the border is solid and continuous, we can’t see the background behind it. The one pixel of padding allows a thin ring of background to be seen between the image and its border, creating the visual effect of an “inner border.” This technique could be extended to create more complicated effects with background images like gradients, which we’ll discuss later in the chapter.
Note that there are also much more powerful border options available in CSS, so background-and-padding tricks may or may not be useful, depending on what you want to do. See Chapter 8 for details.
Remember that form inputs, nearly all of which are replaced elements, are treated as special, and often applying padding to them will not have the same results as applying padding to an image, let alone a nonreplaced element like a paragraph. Just as with most styling of form inputs, adding a background color should be rigorously tested and avoided if possible.
In the previous section, we saw how backgrounds fill out the entire
background area of an element. Historically, that extended all the way
to the outer edge of the border so that any border with
transparent parts (like dashed or dotted borders) would have the
background color fill into those transparent parts. Now there’s a
CSS property called background-clip that lets you affect how far out
an element’s background will go.
The default value is the historical value: the background painting
area (which is what background-clip defines) extends out to the outer
edge of the border. The background will always be drawn behind the
visible parts of the border, if any.
If you choose the value padding-box, then the background will only
extend to the outer edge of the padding area (which is also the inner
edge of the border). Thus, it won’t be drawn behind the border. The
value content-box, on the other hand, restricts the background to just
the content area of the element.
The effects of these three values is illustrated in Figure 9-11, which is the result of the following code:
div[id]{color:navy;background:silver;padding:1em;border:5pxdashed;}#ex01{background-clip:border-box;}/* default value */#ex02{background-clip:padding-box;}#ex03{background-clip:content-box;}
That might seem pretty simple, but there are some caveats. The first is that
background-clip has no effect on the root element (in HTML, that’s
either the html or body element, depending on how your styles are
written). This has to do with how the background painting of the root
element has to be handled.
The second is that the exact clipping of the background area can be
reduced if the element has rounded corners, thanks to the property
border-radius. This is basically common sense, since if you give your
element significantly rounded corners, you want the background to be
clipped by those corners instead of stick out past them. The way to
think of this is that the background painting area is determined by
background-clip, and then any corners that have to be further clipped
by rounded corners are appropriately clipped.
The third caveat is that the value of background-clip can interact poorly with some of the more interesting values of background-repeat, which we’ll get to later on.
The fourth is that background-clip defines the clipping area of
the background. It doesn’t affect other background properties. When it
comes to flat background colors, that’s a distinction without
meaning; but when it comes to background images, which we’ll talk about in the next section, it can make a great deal of difference.
The last value, text, clips the background to the text of the element. In other words, the text is “filled in” with the background, and the rest of the element’s background area remains transparent. This is a simple way to add textures to text, by “filling in” the text of an element with its background.
The kicker is that in order to see this effect, you have to remove the foreground color of the element. Otherwise, the foreground color obscures the background. Consider the following, which has the result shown in Figure 9-12:
div{color:rgb(255,0,0);background:rgb(0,0,255);padding:01em;margin:1.5em1em;border:5pxdashed;font-weight:bold;}#ex01{background-clip:text;color:transparent;}#ex02{background-clip:text;color:rgba(255,0,0,0.5);}#ex03{background-clip:text;}
For the first example, the foreground color is made completely transparent, and the blue background is only visible where it intersects with the text shapes in the element’s content. It is not visible through the image inside the paragraph, since an image’s foreground can’t be set to transparent.
In the second example shown in Figure 9-12, the foreground color has been set to rgba(255,0,0,0.5), which is a half-opaque red. The text there is rendered purple, because the half-opaque red combines with the blue underneath. The borders, on the other hand, blend their half-opaque red with the white background behind them, yielding a light red.
In the third example, the foreground color is a solid, opaque red. The text and borders are both fully red, with no hint of the blue background. It can’t be seen in this instance, because it’s been clipped to the text. The foreground just completely obscures the background.
This technique works for any background, including gradient and image backgrounds, topics which we’ll cover in a bit. Remember, however: if the background for some reason fails to be drawn behind the text, the transparent text meant to be “filled” with the background will instead be completely unreadable.
Having covered the basics of foreground and background colors, we turn
now to the subject of background images. Back in the days of HTML 3.2,
it was possible to associate an image with the background of the
document by using the BODY attribute BACKGROUND:
<BODYBACKGROUND="bg23.gif">
This caused a user agent to load the file bg23.gif and then “tile” it in the document background, repeating it in both the horizontal and vertical directions to fill up the entire background of the document. This effect can be easily recreated in CSS, but CSS can do a great deal more than simple tiling of background images. We’ll start with the basics and then work our way up.
In order to get an image into the background in the first place, use the
property background-image.
The default value of none means about what you’d expect: no image is
placed in the background. If you want a background image, you must give
this property at least one other value, like this:
body{background-image:url(bg23.gif);}
Due to the default values of other background properties, this will cause the image bg23.gif to be tiled in the document’s background, as shown in Figure 9-13. As you’ll discover shortly, this isn’t the only option.
It’s usually a good idea to specify a background color to go along with your background image; we’ll come back to that concept a little later on. (We’ll also talk about how to have more than one image at the same time, but for now we’re going to stick to just one background image per element.)
You can apply a background image to any element, block-level or inline:
p.starry{background-image:url(http://www.site.web/pix/stars.gif);color:white;}a.grid{background-image:url(smallgrid.gif);}<pclass="starry">It'stheendofautumn,whichmeansthestarswillbebrighterthanever!<ahref="join.html"class="grid">Joinus</a>forafabulouseveningofplanets,stars,nebulae,andmore...
As you can see in Figure 9-14, we’ve applied a background to a single paragraph and no other part of the document. We can customize even further, such as placing background images on inline elements like hyperlinks, also depicted in Figure 9-14. If you want to be able to see the tiling pattern, the image will probably need to be pretty small. After all, individual letters aren’t that large!
There are a number of ways to employ specific background images. You can
place an image in the background of strong elements in order to make
them stand out more. You can fill in the background of headings with a
wavy pattern or with little dots.
If you combine simple icons with creative attribute selectors, you can (with use of some properties we’ll get to in just a bit) mark when a link points to a PDF, Word document, email address, or other unusual resource, as shown in Figure 9-15, which is the result of the following code:
a[href]{padding-left:1em;background-repeat:no-repeat;}a[href$=".pdf"]{background-image:url(/i/pdf-icon.png);}a[href$=".doc"]{background-image:url(/i/msword-icon.png);}a[href^="mailto:"]{background-image:url(/i/email-icon.png);}
Just like background-color, background-image is not inherited—in
fact, not a single one of the background properties is inherited.
Remember also that when specifying the URL of a background image, it
falls under the usual restrictions and caveats for url() values: a
relative URL should be interpreted with respect to the stylesheet.
Earlier, I specifically noted that backgrounds are not inherited.
Background images demonstrate why inherited backgrounds would be
a bad thing. Imagine a situation where backgrounds were inherited, and
you applied a background image to the body. That image would be used
for the background of every element in the document, with each element
doing its own tiling, as shown in Figure 9-16.
Note how the pattern restarts at the top left of every element, including the links. This isn’t what most authors would want, and this is why background properties are not inherited. If you do want this particular effect for some reason, you can make it happen with a rule like this:
*{background-image:url(yinyang.png);}
Alternatively, you could use the value inherit like this:
body{background-image:url(yinyang.png);}*{background-image:inherit;}
Images are laid on top of whatever background color you specify. If you’re completely tiling a JPEG or other opaque image type, this fact doesn’t really make a difference, since a fully tiled image will fill up the document background, leaving nowhere for the color to “peek through,” so to speak. However, image formats with an alpha channel, such as PNG or SVG, can be partially or wholly transparent, which will cause the image to be “combined” with the background color. In addition, if the image fails to load for some reason, then the user agent will use the background color specified in place of the image. Consider how the “starry paragraph” example would look if the background image failed to load, as in Figure 9-17.
Figure 9-17 demonstrates why it’s always a good idea to specify a background color when using a background image, so that you’ll at least get a legible result:
p.starry{background-image:url(http://www.site.web/pix/stars.gif);background-color:black;color:white;}a.grid{background-image:url(smallgrid.gif);}<pclass="starry">It'stheendofautumn,whichmeansthestarswillbebrighterthanever!<ahref="join.html"class="grid">Joinus</a>forafabulouseveningofplanets,stars,nebulae,andmore...
This will fill in a flat-black background if the “starry” image can’t be rendered for some reason. It will also fill in any transparent areas of the background images, or any area of the background that the images don’t cover for some reason. (And there are several reasons they might not, as we’ll soon see.)
OK, so we can put images in the background of an element. How about
being able to decide exactly how the image is placed? No problem!
background-position is here to help.
That value syntax looks pretty horrific, but it isn’t; it’s just what
happens when you try to formalize the fast-and-loose implementations of
a new technology into a regular syntax and then layer even more
features on top of that while trying to reuse parts of the old syntax.
(So, OK, kind of horrific.) In practice, background-position is
pretty simple.
Throughout this section, we’ll be using the rule
background-repeat: no-repeat to prevent tiling of the background
image. You’re not crazy: we haven’t talked about background-repeat
yet! We will soon enough, but for now, just accept that the rule
restricts the background to a single image, and don’t worry about it
until we move on to discussing background-repeat.
For example, we can center a background image in the body element,
with the result depicted in Figure 9-18, which is the result of the following code:
body{background-image:url(yinyang.png);background-repeat:no-repeat;background-position:center;}
We actually placed a single image in the background and then
prevented it from being repeated with background-repeat (which is
discussed in an upcoming section). Every background that includes an
image starts with a single image. This starting image is called the
origin image.
The placement of the origin image is accomplished with
background-position, and there are several ways to supply values for
this property. First off, there are the keywords top, bottom,
left, right, and center. Usually, these appear in pairs, but (as
the previous example shows) this is not always true. Then there are
length values, such as 50px or 2cm; and finally, percentage values,
such as 43%. Each type of value has a slightly different effect on the
placement of the background image.
The image placement keywords are easiest to understand. They have the
effects you’d expect from their names; for example, top right would
cause the origin image to be placed in the top-right corner of the
element’s background. Let’s go back to the small yin-yang symbol:
p{background-image:url(yinyang-sm.png);background-repeat:no-repeat;background-position:topright;}
This will place a nonrepeated origin image in the top-right corner of
each paragraph’s background. Incidentally, the result, shown in Figure 9-19, would be exactly the same if the position were declared as
right top.
Position keywords can appear in any order, as long as there are no more
than two of them—one for the horizontal and one for the vertical. If you
use two horizontal (right right) or two vertical (top top) keywords,
the whole value is ignored.
If only one keyword appears, then the other is assumed to be center.
So if you want an image to appear in the top center of every paragraph,
you need only declare:
p{background-image:url(yinyang-sm.png);background-repeat:no-repeat;background-position:top;}
Percentage values are closely related to the keywords, although they behave in a more sophisticated way. Let’s say that you want to center an origin image within its element by using percentage values. That’s easy enough:
p{background-image:url(chrome.jpg);background-repeat:no-repeat;background-position:50%50%;}
This causes the origin image to be placed such that its center is aligned with the center of its element’s background. In other words, the percentage values apply to both the element and the origin image.
In order to understand what that means, let’s examine the process in closer
detail. When you center an origin image in an element’s background, the
point in the image that can be described as 50% 50% (the center) is
lined up with the point in the background that can be described the same
way. If the image is placed at 0% 0%, its top-left corner is placed in
the top-left corner of the element’s background. 100% 100% causes the
bottom-right corner of the origin image to go into the bottom-right corner of the background. Figure 9-20 contains examples of those values, as well as a few others.
Thus, if you want to place a single origin image a third of the way across the background and two-thirds of the way down, your declaration would be:
p{background-image:url(yinyang-sm.png);background-repeat:no-repeat;background-position:33%66%;}
With these rules, the point in the origin image that is one-third across and two-thirds down from the top-left corner of the image will be aligned with the point that is farthest from the top-left corner of the background. Note that the horizontal value always comes first with percentage values. If you were to switch the percentages in the preceding example, the image would be placed two-thirds of the way across the background and one-third of the way down.
If you supply only one percentage value, the single value supplied is
taken to be the horizontal value, and the vertical is assumed to be
50%. For example:
p{background-image:url(yinyang-sm.png);background-repeat:no-repeat;background-position:25%;}
The origin image is placed one-quarter of the way across the paragraph’s background and halfway down it, as depicted in Figure 9-21.
Table 9-1 gives a breakdown of keyword and percentage equivalencies.
| Keyword(s) | Equivalent keywords | Equivalent percentages |
|---|---|---|
center |
center center |
50% 50%50% |
right |
center rightright center |
100% 50%100% |
left |
center leftleft center |
0% 50%0% |
top |
top centercenter top |
50% 0% |
bottom |
bottom centercenter bottom |
50% 100% |
top left |
left top |
0% 0% |
top right |
right top |
100% 0% |
bottom right |
right bottom |
100% 100% |
bottom left |
left bottom |
0% 100% |
In case you were wondering, the default values for background-position
are 0% 0%, which is functionally the same as top left. This is why,
unless you set different values for the position, background images
always start tiling from the top-left corner of the element’s
background.
Finally, we turn to length values for positioning. When you supply
lengths for the position of the origin image, they are interpreted as
offsets from the top-left corner of the element’s background. The offset
point is the top-left corner of the origin image; thus, if you set the
values 20px 30px, the top-left corner of the origin image will be 20
pixels to the right of, and 30 pixels below, the top-left corner of the
element’s background, as shown (along with a few other length examples)
in Figure 9-22, which is the result of the following code:
background-image:url(chrome.jpg);background-repeat:no-repeat;background-position:20px30px;
This is quite different than percentage values because the offset is
from one top-left corner to another. In other words, the top-left
corner of the origin image lines up with the point specified in the
background-position declaration.
You can combine length and percentage values to get a “best of both worlds” effect. Let’s say you need to have a background image that is all the way to the right side of the background and 10 pixels down from the top, as illustrated in Figure 9-23. As always, the horizontal value comes first:
p{background-image:url(yinyang.png);background-repeat:no-repeat;background-position:100%10px;border:1pxdottedgray;}
For that matter, you can get the same result as shown in Figure 9-23 by
using right 10px, since you’re allowed to mix keywords with lengths
and percentages. Bear in mind that the syntax enforces axis order when
using nonkeyword values; in other words, if you use a length of
percentage, then the horizontal value must always come first, and the
vertical must always come second. That means right 10px is fine,
whereas 10px right is invalid and will be ignored (because right is not a valid vertical keyword).
If you’re using lengths or percentages, you can use negative values to pull the origin image outside of the element’s background. Consider the example with the very large yin-yang symbol for a background. At one point, we centered it, but what if we only want part of it visible in the top-left corner of the element’s background? No problem, at least in theory.
First, assume that the origin image is 300 pixels tall by 300 pixels wide. Then, assume that only the bottom-right third of the image should be visible. You can get the desired effect (shown in Figure 9-24) like this:
body{background-image:url(yinyang.png);background-repeat:no-repeat;background-position:-200px-200px;}
Or, say you want just the right half of it to be visible and vertically centered within the element’s background area:
body{background-image:url(yinyang.png);background-repeat:no-repeat;background-position:-150px50%;}
Negative percentages are also possible, although they are somewhat interesting to calculate. The origin image and the element are likely to be very different sizes, for one thing, and that can lead to unexpected effects. Consider, for example, the situation created by the following rule and illustrated in Figure 9-25:
p{background-image:url(pix/yinyang.png);background-repeat:no-repeat;background-position:-10%-10%;width:500px;}
The rule calls for the point outside the origin image defined by
-10% -10% to be aligned with a similar point for each paragraph. The
image is 300 × 300 pixels, so we know its alignment point can be
described as 30 pixels above the top of the image, and 30 pixels to the
left of its left edge (effectively -30px and -30px). The paragraph
elements are all the same width (500px), so the horizontal alignment
point is 50 pixels to the left of the left edge of their backgrounds.
This means that each origin image’s left edge will be 20 pixels to the
left of the left padding edge of the paragraphs. This is because the
-30px alignment point of the images lines up with the -50px point
for the paragraphs. The difference between the two is 20 pixels.
The paragraphs are of differing heights, however, so the vertical
alignment point changes for each paragraph. If a paragraph’s background
area is 300 pixels high, to pick a semi-random example, then the top of
the origin image will line up exactly with the top of the element’s
background, because both will have vertical alignment points of -30px.
If a paragraph is 50 pixels tall, then its alignment point would be
-5px and the top of the origin image will actually be 25 pixels
below the top of the background. This is why you can see all the tops
of the background images in Figure 9-25—the paragraphs are all shorter than
the background image.
OK, it’s time for a confession: throughout this whole discussion of
background positioning, I’ve been keeping two things from you. I acted
as though the value of background-position could have no more than two
keywords, and that all offsets were always made from the top-left corner
of the background area.
That was certainly the case throughout most of the history of CSS, but it’s not true any more. In fact, you can have up to four keywords in a very specific pattern to deliver a very specific feature: changing the edges from which offsets are calculated.
Let’s start with a simple example: placing the origin image a third of the way across and 30 pixels down from the top-left corner. Using what we saw in previous sections, that would be:
background-position:33%30px;
Now let’s do the same thing with this four-part syntax:
background-position:left33%top30px;
What this four-part value says is “from the left edge, have a
horizontal offset of 33%; from the top edge, have an offset of
30px.”
Great, so that’s a more verbose way of getting the default behavior. Now let’s change things so the origin image is placed a third of the way across and 30 pixels up from the bottom-right corner, as shown in Figure 9-26 (which assumes no repeating of the background image, for clarity’s sake):
background-position:right33%bottom30px;
Here, we have a value that means “from the right edge, have a
horizontal offset of 33%; from the bottom edge, have an offset of
30px.”
Thus, the general pattern is edge keyword, offset distance, edge
keyword, offset distance. You can mix the order of horizontal and
vertical information; that is, bottom 30px right 25% works just as
well as right 25% bottom 30px. However, you cannot omit either of the
edge keywords; 30px right 25% is invalid and will be ignored.
You can omit an offset distance in cases where you want it to be zero.
So right bottom 30px would put the origin image against the right edge and 30 pixels up from the bottom of the background area, whereas right 25% bottom would place the origin image a quarter of the way across from the right edge and up against the bottom. These are both illustrated in Figure 9-27.
As it happens, you can only define the edges of an element as offset
bases, not the center. A value like center 25% center 25px will be
ignored.
OK, so now we can add an image to the background, and we can even
change where the origin image is placed. But what if we don’t want to
have its placement calculated with respect to the outer padding edge of
the element, which is the default? We can affect that using the property
background-origin.
This property probably looks very similar to background-clip, and with
good reason, but its effect is pretty distinct. With
background-origin, you can determine the edge that’s used to determine
placement of the origin image. This is also known as defining the
background positioning area. (background-clip, you may recall,
defined the background painting area.)
The default, padding-box, means that (absent any other changes) the
top-left corner of the origin image will be placed in the top-left
corner of the outer edge of the padding, which is just inside the
border.
If you use the value border-box, then the top-left corner of the
origin image will go into the top-left corner of the padding area. That
does mean that the border, if any, will be drawn over the origin
image (assuming the background painting area wasn’t restricted to be
padding-box or content-box, that is).
With content-box, you shift the origin image to be placed in the top-left corner of the content area. The three different results are
illustrated in Figure 9-28:
div[id]{color:navy;background:silver;background-image:url(yinyang.png);background-repeat:no-repeat;padding:1em;border:5pxdashed;}#ex01{background-origin:border-box;}#ex02{background-origin:padding-box;}/* default value */#ex03{background-origin:content-box;}
Remember that this “placed in the top left” behavior is the default
behavior, one you can change with background-position. If the origin
image is placed somewhere other than the top-left corner, its position
will be calculated with respect to the box defined by
background-origin: the border edge, the padding edge, or the
content edge. Consider, for example, this variant on our previous
example, which is illustrated in Figure 9-29:
div[id]{color:navy;background:silver;background-image:url(yinyang);background-repeat:no-repeat;background-position:bottomright;padding:1em;border:5pxdotted;}#ex01{background-origin:border-box;}#ex02{background-origin:padding-box;}/* default value */#ex03{background-origin:content-box;}
Where things can get really interesting is if you’ve explicitly defined your background origin and clipping to be different boxes. Imagine you have the origin placed with respect to the padding edge but the background clipped to the content area, or vice versa. This would have the results shown in Figure 9-30, as resulting from the following:
#ex01{background-origin:padding-box;background-clip:content-box;}#ex02{background-origin:content-box;background-clip:padding-box;}
In the first example shown in Figure 9-29, the edges of the origin image are clipped because it’s been positioned with respect to the padding box, but the background painting area has been clipped at the edge of the content box. In the second example, the origin image is placed with respect to the content box, but the painting area extends into the padding box. Thus, the origin image is visible all the way down to the bottom padding edge, even though its top is not placed against the top padding edge.
In the old days, if you wanted some kind of “sidebar” background effect, you had to create a very short, but incredibly wide, image to place in the background. At one time, a favorite size for these images was 10 pixels tall by 1,500 pixels wide. Most of that image would be blank space; only the left 100 or so pixels contain the “sidebar” image. The rest of the image was basically wasted.
Wouldn’t it be much more efficient to create a sidebar image that’s 10
pixels tall and 100 pixels wide, with no wasted blank space, and then
repeat it only in the vertical direction? This would certainly make your
design job a little easier, and your users’ download times a lot faster.
Enter background-repeat.
The value syntax for background-repeat looks a bit complicated at
first glance, but it’s really fairly straightforward. In fact, at its
base, it’s just four values: repeat, no-repeat, space, and
round. The other two, repeat-x and repeat-y, are considered to be
shorthand for combinations of the others. Table 9-2 shows how they break down.
If two values are given, the first applies in the horizontal
direction, and the second in the vertical. If there is just one value,
it applies in both the horizontal and vertical directions, with the
exception, as shown in Table 9-2, of repeat-x and repeat-y.
| Single keyword | Equivalent keywords |
|---|---|
repeat-x |
repeat no-repeat |
repeat-y |
no-repeat repeat |
repeat |
repeat repeat |
no-repeat |
no-repeat no-repeat |
space |
space space |
round |
round round |
As you might guess, repeat by itself causes the image to tile
infinitely in all directions, just as background images did when they
were first introduced. repeat-x and repeat-y cause the image to be
repeated in the horizontal or vertical directions, respectively, and
no-repeat prevents the image from tiling along a given axis.
By default, the background image will start from the top-left corner of an element. Therefore, the following rules will have the effect shown in Figure 9-31:
body{background-image:url(yinyang-sm.png);background-repeat:repeat-y;}
Let’s assume, though, that you want the image to repeat across the top of the document. Rather than creating a special image with a whole lot of blank space underneath, you can just make a small change to that last rule:
body{background-image:url(yinyang-sm.png);background-repeat:repeat-x;}
As Figure 9-32 shows, the image is repeated along the x axis (that
is, horizontally) from its starting position—in this case, the top-left
corner of the body element’s background area.
Finally, you may not want to repeat the background image at all. In this
case, you use the value no-repeat:
body{background-image:url(yinyang-sm.png);background-repeat:no-repeat;}
This value may not seem terribly useful, given that the above declaration would just drop a small image into the top-left corner of the document, but let’s try it again with a much bigger symbol, as shown in Figure 9-33, which is the result of the following code:
body{background-image:url(yinyang.png);background-repeat:no-repeat;}
The ability to control the repeat direction dramatically expands the
range of possible effects. For example, let’s say you want a triple
border on the left side of each h1 element in your document. You can
take that concept further and decide to set a wavy border along the top
of each h2 element. The image is colored in such a way that it blends
with the background color and produces the wavy effect shown in Figure 9-34, which is the result of the following code:
h1{background-image:url(triplebor.gif);background-repeat:repeat-y;}h2{background-image:url(wavybord.gif);background-repeat:repeat-x;background-color:#CCC;}
There are better ways to create a wavy-border effect these days—notably, the border image properties explored in the section “Image Borders” found in Chapter 8, “Padding, Borders, Outlines, and Margins.”
In the previous section, we explored the values repeat-x, repeat-y,
and repeat, and how they affect the tiling of background images. In
each case, the tiling pattern always started from the top-left corner of
the element’s background. That’s because, as we’ve seen, the default
values for background-position are 0% 0%. Given that you know how to
change the position of the origin image, you need to know out how user
agents will handle it.
It will be easier to show an example and then explain it. Consider the following markup, which is illustrated in Figure 9-35:
p{background-image:url(yinyang-sm.png);background-position:center;border:1pxdottedgray;}p.c1{background-repeat:repeat-y;}p.c2{background-repeat:repeat-x;}
So there you have it: stripes running through the center of the elements. It may look wrong, but it isn’t.
The examples shown in Figure 9-35 are correct because the origin image has
been placed in the center of the first p element and then tiled along
the y axis in both directions—in other words, both up and down.
For the second paragraph, the images are repeated to the right and
left.
Setting an image in the center of the p and then letting it
fully repeat will cause it to tile in all four directions: up, down,
left, and right. The only difference background-position makes is in
where the tiling starts. Figure 9-36 shows the difference between tiling
from the center of an element and from its top-left corner.
Note the differences along the edges of the element. When the background image repeats from the center, as in the first paragraph, the grid of yin-yang symbols is centered within the element, resulting in consistent clipping along the edges. In the second paragraph, the tiling begins at the top-left corner of the padding area, so the clipping is not consistent.
Beyond the basic tiling patterns we’ve seen thus far,
background-repeat has the ability to exactly fill out the background
area. Consider, for example, what happens if we use the value space to
define the tiling pattern, as shown in Figure 9-37:
div#example{background-image:url(yinyang.png);background-repeat:space;}
If you look closely, you’ll notice that there are background images in each of the four corners of the element. Furthermore, the images are spaced out so that they occur at regular intervals in both the horizontal and vertical directions.
This is what space does: it determines how many repetitions it can fully fit
along a given axis, and then spaces them out at regular intervals so
that the repetitions go from one edge of the background to another. This
doesn’t guarantee a regular square grid, where the intervals are all the
same both horizontally and vertically. It just means that you’ll have
what look like columns and rows of background images, with likely
different horizontal and vertical separations. You can see some examples
of this in Figure 9-38.
Keep in mind that any background color, or the “backdrop” of the element (that is, the combined background of the element’s ancestors) will show through the gaps in space-separated background images.
What happens if you have a really big image that won’t fit more than
once along the given axis? Then it’s only drawn once, and placed as
determined by the value of background-position. The flip side of that
is that if more than one repetition of the image will fit along an axis,
then the value of background-position is ignored along that axis. An
example of this is shown in Figure 9-39, and created using the following
code:
div#example{background-image:url(yinyang.png);background-position:center;background-repeat:space;}
Notice that the images are spaced horizontally, and thus override the
center position along that axis, but are not spaced (because there
isn’t enough room to do so) and are still centered vertically. That’s
the effect of space overriding center along one axis, but not the
other.
By contrast, the value round will most likely result in some scaling
of the background image as it is repeated, and (strangely enough) it
will not override background-position. If an image won’t quite repeat
so that it goes from edge to edge of the background, then it will be
scaled up or down in order to make it fit a whole number of times.
Furthermore, the images can be scaled differently along each axis, making it the only background property that will automatically alter an image’s intrinsic aspect ratio. (background-size can also change the aspect ratio, but only by explicit direction from the author.)
You can see an example of this in Figure 9-40, which is the result of the following code:
body{background-image:url(yinyang.png);background-position:topleft;background-repeat:round;}
Note that if you have a background 850 pixels wide and a horizontally
rounded image that’s 300 pixels wide, then a browser can decide to use
three images and scale them down to fit three-across into the 850 pixel
area. (Thus making each instance of the image 283.333 pixels wide.) With
space, it would have to use two images and put 250 pixels of space
between them, but round is not so constrained.
Here’s the interesting wrinkle: while round will resize the background
images so that you can fit a whole number of them into the background,
it will not move them to make sure that they actually touch the edges
of the background. In other words, the only way to make sure your
repeating pattern fits and no background images are clipped is to put
the origin image in a corner. If the origin image is anywhere else, clipping will occur, as illustrated in Figure 9-41, which is the result of the following code:
body{background-image:url(yinyang.png);background-position:center;background-repeat:round;}
The images are still scaled so that they would fit into the background
positioning area a whole number of times. They just aren’t repositioned
to actually do so. Thus, if you’re going to use round and you don’t
want to have any clipped background tiles, make sure you’re starting
from one of the four corners (and make sure the background positioning
and painting areas are the same; see the section “Tiling and clipping” for more).
On the other hand, you can get some interesting effects from the actual
behavior of round. Suppose you have two elements that are the same size with
the same rounded backgrounds, and you place them right next to each
other. The background tiling should appear to be one continuous pattern.
If you recall, background-clip can alter the area in which the
background is drawn, and background-origin determines the placement of
the origin image. So what happens when you’ve made the clipping area and
the origin area different, and you’re using either space or round
for the tiling pattern?
The basic answer is that if your values for background-origin and
background-clip aren’t the same, you’ll see some clipping. This is
because space and round are calculated with respect to the
background positioning area, not the painting area. Some examples of
what can happen are shown in Figure 9-42.
This has always been the case, actually, thanks to the historical
behavior of CSS, which positioned elements with respect to the inner
border edge but clipped them at the outer border edge. Thus, even if you
very carefully controlled the size of an element so that it would have
an even number of background-image tiles, adding a border would
introduce the possibility of partial clipping of tiles. (Especially if a
border side color ever got set to transparent.)
As for the best value to use, that’s a matter of opinion and
circumstance. It’s likely that in most cases, setting both
background-origin and background-clip to padding-box will get you
the results you desire. If you plan to have borders with see-through
bits, though, then border-box might be a better choice.
So, now you can place the origin image for the background anywhere in
the background of an element, and you can control (to a large degree)
how it tiles. As you may have realized already, placing an image in the
center of the body element could mean, given a sufficiently long
document, that the background image won’t be initially visible to the
reader. After all, a browser provides only a window onto the document.
If the document is too long to be displayed in the window, then the user
can scroll back and forth through the document. The center of the body
could be two or three “screens” below the beginning of the document, or
just far enough down to push most of the origin image beyond the bottom
of the browser window.
Furthermore, even if you assume that the origin image is initially visible, it always scrolls with the document—it’ll vanish every time a user scrolls beyond the location of the image. Never fear: there is a way to prevent this scrolling.
Using the property background-attachment, you can declare the origin
image to be fixed with respect to the viewing area and therefore immune
to the effects of scrolling:
body{background-image:url(yinyang.png);background-repeat:no-repeat;background-position:center;background-attachment:fixed;}
Doing this has two immediate effects, as you can see in Figure 9-43. The first is that the origin image does not scroll along with the document. The second is that the placement of the origin image is determined by the size of the viewport, not the size (or placement within the viewport) of the element that contains it.
In a web browser, the viewing area can change as the user resizes the browser’s window. This will cause the background’s origin image to shift position as the window changes size. Figure 9-44 depicts another view of the same document, where it’s been scrolled partway through the text.
Almost the inverse of fixed is local, which has background images scrolling with content. In this case, though, the effect is only seen when an element’s content has to be scrolled. This is tricky to grasp at first.
Consider the following, where no background-attachment has been set:
aside{background-image:url(yinyang.png);background-position:topright;max-height:20em;overflow:scroll;}
In this situation, if the content of an aside is taller than 20 em, the rest of the content can be accessed by using a scrollbar. The background image, however, will not scroll with the content. It will instead stay in the top-left corner of the element box.
By adding background-attachment: local, the image is attached to the local context. The visual effect is rather like an iframe, if you have any experience with those. Figure 9-45 shows the results of the previous code sample and the following code side by side:
aside{background-image:url(yinyang.png);background-position:topright;background-attachment:local;/* attaches to content */max-height:20em;overflow:scroll;}
There is one other value for background-attachment, and that’s
the default value scroll. As you might expect, this causes the background image
to scroll along with the rest of the document when viewed in a web
browser, and it doesn’t necessarily change the position of the origin image as the window is resized. If the document width is fixed (perhaps by assigning an explicit width to the body element), then resizing the viewing area won’t affect the placement of a scroll-attachment origin
image at all.
In technical terms, when a background image has been fixed, it is positioned with respect to the viewing area, not the element that contains it. However, the background will be visible only within its containing element. This leads to a rather interesting consequence.
Let’s say you have a document with a tiled background that actually
looks like it’s tiled, and both h1 and h2 elements with the same
pattern, only in a different color. Both the body and heading elements
are set to have fixed backgrounds, resulting in something like Figure 9-46, which is the result of the following code:
body{background-image:url(grid1.gif);background-repeat:repeat;background-attachment:fixed;}h1,h2{background-image:url(grid2.gif);background-repeat:repeat;background-attachment:fixed;}
How is this perfect alignment possible? Remember, when a background is
fixed, the origin element is positioned with respect to the viewport.
Thus, both background patterns begin tiling from the top-left corner of
the viewport, not from the individual elements. For the body, you can see
the entire repeat pattern. For the h1, however, the only place you can
see its background is in the padding and content of the h1 itself.
Since both background images are the same size, and they have precisely
the same origin, they appear to line up, as shown in Figure 9-46.
This capability can be used to create some very sophisticated effects. One of the most famous examples is the “complexspiral distorted” demonstration (http://bit.ly/meyer-complexspiral), shown in Figure 9-47.
The visual effects are caused by assigning different fixed-attachment background images to nonbody elements. The entire demo is driven by one HTML document, four JPEG images, and a stylesheet. Because all four images are positioned in the top-left corner of the browser window but are visible only where they intersect with their elements, the images line up to create the illusion of translucent rippled glass.
It is also the case that in paged media, such as printouts, every page generates its own viewport. Therefore, a fixed-attachment background should appear on every page of the printout. This could be used for effects such as watermarking all the pages in a document:
Right, so up to this point, we’ve taken images of varying sizes and
dropped them into element backgrounds to be repeated (or not),
positioned, clipped, and attached. In every case, we just took the image
at whatever intrinsic size it was (with the automated exception of
round repeating). Ready to actually change the size of the origin
image and all the tiled images that spawn from it?
Let’s start by explicitly resizing a background image. We’ll drop in an image that’s 200 × 200 pixels and then resize it to be twice as big, as shown in Figure 9-48, which is the result of the following code:
main{background-image:url(yinyang.png);background-repeat:no-repeat;background-position:center;background-size:400px400px;}
You could just as easily resize the origin image to be smaller, and you aren’t confined to pixels. It’s trivial to resize an image with respect to the current text size of an element, for example:
main{background-image:url(yinyang.png);background-repeat:no-repeat;background-position:center;background-size:4em4em;}
You can mix things up if you like, and in the process squeeze or stretch the origin image:
main{background-image:url(yinyang.png);background-repeat:no-repeat;background-position:center;background-size:400px4em;}
And as you might expect, if you allow the image to repeat, then all the repeated images will be the same size as the origin image. This and the previous example are both illustrated in Figure 9-49, which is the result of the following code:
main{background-image:url(yinyang.png);background-repeat:repeat;background-position:center;background-size:400px4em;}
As that last example shows, when there are two values for
background-size--the first is the horizontal size and the second is
the vertical. (As per usual for CSS.)
Percentages are a little more interesting. If you declare a percentage
value, then it’s calculated with respect to the background positioning
area; that is, the area defined by background-origin, and not by
background-clip. Suppose you want an image that’s half as wide and
half as tall as its background positioning area, as shown in Figure 9-50:
main{background-image:url(yinyang.png);background-repeat:no-repeat;background-position:center;background-size:50%50%;}
And yes, you can mix lengths and percentages:
main{background-image:url(yinyang.png);background-repeat:no-repeat;background-position:center;background-size:25px100%;}
Negative length and percentage values are not permitted for
background-size.
Now, what about the default value of auto? First off, in a case where
the there’s only one value, it’s taken for the horizontal size, and the
vertical size is set to auto. (Thus background-size: auto is
equivalent to background-size: auto auto.) If you want to size the
origin image vertically and leave the horizontal size to be automatic, thus preserving the intrinsic aspect ratio of the image,
you have to write it explicitly, like this:
background-size:auto333px;
But what does auto actually do? There’s a three-step fallback process:
If one axis is set to auto and the other is not, and the image has an intrinsic height-to-width ratio, then the auto axis is calculated by using the size of the other axis and the intrinsic ratio of the image. Thus, an image that’s 300 pixels wide by 200 pixels tall (a 3:2 ratio) and that is set to background-size: 100px; would be resized to be 100 pixels wide and 66.6667 pixels tall. If the declaration is changed to background-size: auto 100px;, then the image will be resized to 150 pixels wide by 100 pixels tall. This will happen for all raster images (GIF, JPEG, PNG, etc.), which have intrinsic ratios due to the nature of their image formats. This is also true of SVG images that have explicitly declared sizing information inside the file.
If the first step fails for some reason, but the image has an intrinsic size, then auto is set to be the same as the intrinsic size of that axis. Suppose you have an image with an intrinsic size of 300 pixels wide by 200 pixels tall that somehow fails to have an intrinsic ratio. In that case, background-size: auto 100px; would result in a size of 300 pixels wide by 100 pixels tall.
If the first and second steps both fail for whatever reason, then auto resolves to 100%. Thus, an image with no intrinsic size that’s set to background-size: auto 100px; would be resized to be as wide as the background positioning area and 100 pixels tall. This can happen fairly easily with vector images like SVGs when they don’t contain explicit sizing information, and is always the case for CSS gradient images (covered in detail in “Gradients”).
As you can see from this process, in many ways, auto in
background-size acts a lot like the auto values of height and width
act when applied to replaced elements such as images. That is to say, you’d
expect roughly similar results from the following two rules, if they
were applied to the same image in different contexts:
img.yinyang{width:300px;height:auto;}main{background-image:url(yinyang.png);background-repeat:no-repeat;background-size:300pxauto;}
Now for the real fun! Suppose you have an image that you want to cover
the entire background of an element, and you don’t care if parts of it
stick outside the background painting area. In this case, you can use
cover, as shown in Figure 9-51, which is the result of the following code:
main{background-image:url(yinyang.png);background-position:center;background-size:cover;}
This scales the origin image so that it completely covers the background positioning area while still preserving its intrinsic aspect ratio, assuming it has one. You can see an example of this in Figure 9-52, where a 200 × 200 pixel image is scaled up to cover the background of an 800 × 400 pixel element, which is the result of the following code:
main{width:800px;height:400px;background-image:url(yinyang.png);background-position:center;background-size:cover;}
Note that there was no background-repeat in that example. That’s
because we expect the image to fill out the entire background, so
whether it’s repeated or not doesn’t really matter.
You can also see that cover is very much different than 100% 100%.
If we’d used 100% 100%, then the origin image would have been
stretched to be 800 pixels wide by 400 pixels tall. Instead, cover
made it 800 pixels wide and tall, then centered the image inside the
background positioning area. This is the same as if we’d said
100% auto in this particular case, but the beauty of cover is that
it works regardless of whether your element is wider than it is tall, or
taller than it is wide.
By contrast, contain will scale the image so that it fits exactly
inside the background positioning area, even if that leaves some of the
rest of the background showing around it. This is illustrated in Figure 9-53, which is the result of the following code:
main{width:800px;height:400px;background-image:url(yinyang.png);background-repeat:no-repeat;background-position:center;background-size:contain;}
In this case, since the element is shorter than it is tall, the origin
image was scaled so it was as tall as the background positioning area,
and the width was scaled to match, just as if we’d declared auto 100%.
If an element is taller than it is wide, then contain acts
like auto 100%.
You’ll note that we brought no-repeat back to the example so that
things wouldn’t become too visually confusing. Removing that declaration would cause the background to repeat, which is no big deal if that’s what you want. The result is shown in Figure 9-54.
Always remember: the sizing of cover and contain images is always
with respect to the background positioning area, which is defined by
background-origin. This is true even if the background painting area
defined by background-clip is different! Consider the following rules,
which are depicted in Figure 9-55:
div{border:1pxsolidred;background:greenurl(yinyang-sm.png)centerno-repeat;}.cover{background-size:cover;}.contain{background-size:contain;}.clip-content{background-clip:content-box;}.clip-padding{background-clip:padding-box;}.origin-content{background-origin:content-box;}.origin-padding{background-origin:padding-box;}
Yes, you can see background color around the edges of some of those, and
others get clipped. That’s the difference between the painting area and
the positioning area. You’d think that cover and contain would be
sized with respect to the painting area, but they aren’t. Keep that
firmly in mind whenever you use these values.
In this section, I used raster images (GIFs, to be precise) even though they tend to look horrible when scaled up and represent a waste of network resources when scaled down. (I did this so that it would be extra obvious when lots of up-scaling was happening.) This is an inherent risk in scaling background raster images. On the other hand, you can just as easily use SVGs as background images, and they scale up or down with no loss of quality or waste of bandwidth. Once upon a time, SVGs were unusable because browsers didn’t support them, but those days are long past. If you’re going to be scaling a background image and it doesn’t have to be a photograph, strongly consider using SVG.
As is often the case with thematic areas of CSS, the background
properties can all be brought together in a single shorthand property:
background. Whether you might want to do that is another question
entirely.
The syntax here can get a little confusing. Let’s start simple and work our way up from there.
First off, the following statements are all equivalent to each other and will have the effect shown in Figure 9-56:
body{background-color:white;background-image:url(yinyang.png);background-position:topleft;background-repeat:repeat-y;background-attachment:fixed;background-origin:padding-box;background-clip:border-box;background-size:50%50%;}body{background:whiteurl(yinyang.png)repeat-ytopleft/50%50%fixedpadding-boxborder-box;}body{background:fixedurl(yinyang.png)padding-boxborder-boxwhiterepeat-ytopleft/50%50%;}body{background:url(yinyang.png)topleft/50%50%padding-boxwhiterepeat-yfixedborder-box;}
You can mostly mix up the order of the values however you like, but
there are three restrictions. The first is that any background-size
value must come immediately after the background-position value, and must be separated from it by a solidus (/, the “forward slash”).
Additionally, within those values, the usual restrictions apply: the
horizontal value comes first, and the vertical value comes second,
assuming that you’re supplying axis-derived values (as opposed to, say,
cover).
The last restriction is that if you supply values for both
background-origin and background-clip, the first of the two you list
will be assigned to background-origin, and the second to
background-clip. That means that the following two rules are
functionally identical:
body{background:url(yinyang.png)topleft/50%50%padding-boxborder-boxwhiterepeat-yfixed;}body{background:url(yinyang.png)topleft/50%50%padding-boxwhiterepeat-yfixedborder-box;}
Related to that, if you only supply one such value, it sets both
background-origin and background-clip. Thus, the following shorthand
sets both the background positioning area and the background painting
area to the padding box:
body{background:url(yinyang.png)padding-boxtopleft/50%50%border-box;}
As is the case for shorthand properties, if you leave out any values, the defaults for the relevant properties are filled in automatically. Thus, the following two are equivalent:
body{background:whiteurl(yinyang.png;}body{background:whiteurl(yinyang.png)transparent0%0%/autorepeatscrollpadding-boxborder-box;}
Even better, there are no required values for background—as long as
you have at least one value present, you can omit the rest.
It’s possible to set just the background color using the
shorthand property, which is a very common practice:
body{background:white;}
On that note, remember that background is a shorthand property, and,
as such, its default values can obliterate previously assigned values
for a given element. For example:
h1,h2{background:grayurl(thetrees.jpg)center/containrepeat-x;}h2{background:silver;}
Given these rules, h1 elements will be styled according to the first
rule. h2 elements will be styled according to the second, which means
they’ll just have a flat silver background. No image will be applied to
h2 backgrounds, let alone centered and repeated horizontally. It is
more likely that the author meant to do this:
h1,h2{background:grayurl(thetrees.jpg)center/containrepeat-x;}h2{background-color:silver;}
This lets the background color be changed without wiping out all the other values.
There’s one more restriction that will lead us very neatly into the next section: you can only supply a background color on the final background layer. No other background layer can have a solid color declared. What the heck does that mean? So glad you asked.
Throughout most of this chapter, I’ve been gliding right past the fact that almost all the background properties accept a comma-separated list of values. For example, if you wanted to have three different background images, you could do it like this:
section{background-image:url(bg01.png),url(bg02.gif),url(bg03.jpg);background-repeat:no-repeat;}
Seriously. It will look like what we see in Figure 9-57.
This creates three background layers, one for each image. Technically, it’s two background layers and a final background layer, which is the third in this series of three.
As we saw in Figure 9-57, the three images were piled into the top-left corner of the element and didn’t repeat. The lack of repetition is because we declared background-repeat: no-repeat, and the top-left positioning is because the default value of background-position is 0% 0% (the top-left corner). But suppose we want to put the first image in the top right, put the second in the center left, and put the last layer in the center bottom? We can also layer background-position, as shown in Figure 9-58, which is the result of the following code:
section{background-image:url(bg01.png),url(bg02.gif),url(bg03.jpg);background-position:topright,leftcenter,50%100%;background-repeat:no-repeat;}
Now, suppose we want to keep the first two from repeating, but horizontally repeat the third:
section{background-image:url(bg01.png),url(bg02.gif),url(bg03.jpg);background-position:topright,leftcenter,50%100%;background-repeat:no-repeat,no-repeat,repeat-x;}
Nearly every background property can be comma-listed this way. You can have different origins, clipping boxes, sizes, and just about everything else for each background layer you create. Technically, there is no limit to the number of layers you can have, though at a certain point it’s just going to get silly.
Even the shorthand background can be comma-separated. The following
example is exactly equivalent to the previous one, and the result is
shown in Figure 9-59:
section{background:url(bg01.png)righttopno-repeat,url(bg02.gif)centerleftno-repeat,url(bg03.jpg)50%100%repeat-x;}
The only real restriction on multiple backgrounds is that
background-color does not repeat in this manner, and if you provide
a comma-separated list for the background shorthand, then the color
can only appear on the last background layer. If you add a color to any other layer, the entire background declaration is made invalid.
Thus, if we wanted to have
a green background fill for the previous example, we’d do it in one of the
following two ways:
section{background:url(bg01.png)righttopno-repeat,url(bg02.gif)centerleftno-repeat,url(bg03.jpg)50%100%repeat-xgreen;}section{background:url(bg01.png)righttopno-repeat,url(bg02.gif)centerleftno-repeat,url(bg03.jpg)50%100%repeat-x;background-color:green;}
The reason for this restriction is pretty straightforward. Imagine if you were able to add a full background color to the first background layer. It would fill in the whole background and obscure all the background layers behind it! So if you do supply a color, it can only be on the last layer, which is “bottom-most.”
This ordering is important to internalize as soon as possible, because
it runs counter to the instincts you’ve likely built up in the course of
using CSS. After all, you know what will happen here: the h1
background will be green:
h1{background-color:red;}h1{background-color:green;}
Contrast that with this multiple-background rule, which will make the
h1 background red, as shown in Figure 9-60:
h1{background:url(box-red.gif),url(box-green.gif)green;}
Yes, red. The red GIF is tiled to cover the entire background area, as is the green GIF, but the red GIF is “on top of” the green GIF. It’s closer to you. And the effect is exactly backward from the “last one wins” rules built into the cascade.
I visualize it like this: when there are multiple backgrounds, they’re listed like the layers in a drawing program such as Photoshop or Illustrator. In the layer palette of a drawing program, layers at the top of the palette are drawn over the layers at the bottom. It’s the same thing here: the layers listed at the top of the list are drawn over the layers at the bottom of the list.
The odds are pretty good that you will, at some point, set up a bunch of background layers in the wrong order, because your cascade-order reflexes will kick in. (This error still gets me from time to time, so don’t beat yourself up if it gets you.)
Another fairly common mistake when you’re getting started with multiple backgrounds is to forget to turn off background tiling for your background layers, thus obscuring all but the top layer. See Figure 9-61, for example, which is the result of the following code:
section{background-image:url(bg02.gif),url(bg03.jpg);}
We can only see the top layer because it’s tiling infinitely, thanks to
the default value of background-repeat. That’s why the example at the
beginning of this section had a background-repeat: no-repeat. But how
did the browser know to apply that single repeat value to all the
layers? Because CSS defines an algorithm for filling in the missing
pieces.
Multiple backgrounds are cool and all, but what happens if you forget to supply all the values for all the layers? For example, what happens with background clipping in this code?
section{background-image:url(bg01.png),url(bg02.gif),url(bg03.jpg);background-position:topright,leftcenter,50%100%;background-clip:content-box;}
What happens is that the declared value is filled in for the missing values, so the preceding code is functionally equivalent to this:
section{background-image:url(bg01.png),url(bg02.gif),url(bg03.jpg);background-position:topright,leftcenter,50%100%;background-clip:content-box,content-box,content-box;}
All right, great. But then someone comes along and adds a background layer by adding another image. Now what?
section{background-image:url(bg01.png),url(bg02.gif),url(bg03.jpg),url(bg04.svg);background-position:topright,leftcenter,50%100%;background-clip:content-box,content-box,content-box;}
What happens is the declared set of values is repeated as many times as necessary to fill in the gaps. In this case, that means a result equivalent to declaring the following:
section{background-image:url(bg01.png),url(bg02.gif),url(bg03.jpg),url(bg04.svg);background-position:topright,leftcenter,50%100%,topright;background-clip:content-box,content-box,content-box,content-box;}
Notice how the fourth background-position is the same as the first?
That‘s also the case for the fourth background-clip, though it’s not
as obvious. Let’s make it even more clear by setting up two rules that
are exactly equivalent, albeit with slightly different values than we’ve
seen before:
body{background-image:url(bg01.png),url(bg02.gif),url(bg03.jpg),url(bg04.svg);background-position:topleft,bottomcenter,33%67%;background-origin:border-box,padding-box;background-repeat:no-repeat;background-color:gray;}body{background-image:url(bg01.png),url(bg02.gif),url(bg03.jpg),url(bg04.svg);background-position:topleft,bottomcenter,33%67%,topleft;background-origin:border-box,padding-box,border-box,padding-box;background-repeat:no-repeat,no-repeat,no-repeat,no-repeat;background-color:gray;}
That’s right: the color didn’t get repeated, because there can only be one background color!
If we take away two of the background images, then the leftover values for the others will be ignored. Again, two rules that are exactly the same in effect:
body{background-image:url(bg01.png),url(bg04.svg);background-position:topleft,bottomcenter,33%67%;background-origin:border-box,padding-box;background-repeat:no-repeat;background-color:gray;}body{background-image:url(bg01.png),(bg04.svg);background-position:topleft,bottomcenter;background-origin:border-box,padding-box;background-repeat:no-repeat,no-repeat;background-color:gray;}
Notice that I actually removed the second and third images (bg02.gif
and bg03.jpg). Since this left two images, the third value of
background-position was dropped. The browser doesn’t
remember what CSS you had last time, and certainly doesn’t (because it
can’t) try to maintain parallelism between the old values and the new
ones. If you cut values out of the middle of background-image, you
have to drop or rearrange values in other properties to keep up.
The easy way to avoid these sorts of situations is just to use
background, like so:
body{background:url(bg01.png)topleftborder-boxno-repeat,url(bg02.gif)bottomcenterpadding-boxno-repeat,url(bg04.svg)bottomcenterpadding-boxno-repeatgray;}
That way, when you add or subtract background layers, the values you
meant to apply specifically to them will come in or go out with them.
This can mean some annoying repetition if all the backgrounds
should have the same value of a given property, like
background-origin. If that’s the situation, you can blend the two
approaches, like so:
body{background:url(bg01.png)topleftno-repeat,url(bg02.gif)bottomcenterno-repeat,url(bg04.svg)bottomcenterno-repeatgray;background-origin:padding-box;}
This works just as long as you don’t need to make any exceptions. The minute you decide to change the origin of one of those background layers, then you’ll need to explicitly list them, however you do it.
Remember that the number of layers is determined by the number of
background images, and so, by definition, background-image values are
not repeated to equal the number of comma-separated values given for
other properties. You might want to put the same image in all four
corners of an element and think you could do it like this:
background-image:url(i/box-red.gif);background-position:topleft,topright,bottomright,bottomleft;background-repeat:no-repeat;
The result, however, would be to place a single red box in the top-left corner of the element. In order to get images in all four corners, as shown in Figure 9-62, you’ll have to list the same image four times:
background-image:url(i/box-red.gif),url(i/box-red.gif),url(i/box-red.gif),url(i/box-red.gif);background-position:topleft,topright,bottomright,bottomleft;background-repeat:no-repeat;
There are two new image types defined by CSS that are described
entirely in CSS: linear gradients and radial gradients. Of each type, there are two sub-types: repeating and non-repeating. Gradients are most
often used in backgrounds, which is why they’re being covered here,
though they can be used in any context where an image is
permitted—list-style-image, for example.
A gradient is just a smooth visual transition from one color to another. For example, a gradient from white to black will start white, run through successively darker shades of gray, and eventually arrive at black. How gradual or abrupt a transition that is depends on how much space the gradient has to operate. If you run from white to black over 100 pixels, then each pixel along the gradient’s progression will be another 1% darker gray. This is diagrammed in Figure 9-63.
As we go through the process of exploring gradients, always keep this in mind: gradients are images. It doesn’t matter that you describe them by typing CSS—they are every bit as much images as SVGs, PNG, GIFs, and so on.
What’s interesting about gradients is that they have no intrinsic
dimensions, which means that if the background-size property’s value
auto is used, it is treated as if it were 100%. Thus, if you don’t
define a background-size for a background gradient, it will be set to
the default value of auto, which is the same as declaring 100% 100%.
So, by default, background gradients fill in the entire background
positioning area.
Linear gradients are gradient fills that proceed along a linear vector, referred to as the gradient line. They can be anything but simple, however. Here are a few relatively simple gradients, with the results shown in Figure 9-64:
#ex01{background-image:linear-gradient(purple,gold);}#ex02{background-image:linear-gradient(90deg,purple,gold);}#ex03{background-image:linear-gradient(toleft,purple,gold);}#ex04{background-image:linear-gradient(-135deg,purple,gold,navy);}#ex05{background-image:linear-gradient(tobottomleft,purple,gold,navy);}
The first of these is the most basic that a gradient can be: two colors. This causes a gradient from the first color at the top of the background positioning area to the second color at the bottom of the background positioning area.
The gradient goes from top to bottom because the default direction for
gradients is to bottom, which is the same as 180deg and its various
equivalents (for example, 0.5turn). If you’d like to go a different
direction, then you can start the gradient value with a direction.
That’s what was done for all the other gradients shown in Figure 9-64.
So the basic syntax of a linear gradient is:
linear-gradient(
[[ <angle> | to <side-or-quadrant> ],]? [ <color-stop> [, <color-hint>]? ]# ,
<color-stop>
)
We’ll explore both color stops and color hints very soon. For now, the basic pattern to keep in mind is: an optional direction at the start, a list of color stops and/or color hints, and a color stop at the end.
While you only use the to keyword if you’re describing a side or
quadrant with keywords like top and right, the direction you give
always describes the direction in which the gradient line points. In
other words, linear-gradient(0deg,red,green) will have red at the
bottom and green at the top because the gradient line points toward
zero degrees (the top of the element) and thus ends with green. Just
remember to leave out the to if you’re using an angle value because
something like to 45deg is invalid and will be ignored.
You’re able to use any color value you like, including alpha-channel
values such as rgba() and keywords like transparent. Thus it’s entirely possible to fade out pieces of your gradient by blending to (or from) a color with zero opacity. Consider the following rules, which are depicted in Figure 9-65:
#ex01{background-image:linear-gradient(toright,rgb(200,200,200),rgb(255,255,255));}#ex02{background-image:linear-gradient(toright,rgba(200,200,200,1),rgba(200,200,200,0));}
As you can see, the first example fades from light gray to white, whereas the second example fades the same light gray from opaque to transparent, thus allowing the parent element’s yellow background to show through.
You’re certainly not restricted to two colors, either. You’re free to add as many colors as you can stand. Consider the following gradient:
#wdim{background-image:linear-gradient(90deg,red,orange,yellow,green,blue,indigo,violet,red,orange,yellow,green,blue,indigo,violet);
The gradient line points toward 90 degrees, which is the right side. There are 14 color stops in all, one for each of the comma-separated color names, and they are distributed evenly along the gradient line, with the first at the beginning of the line and the last at the end. Between the color stops, the colors are blended as smoothly as possible from one color to the other. This is shown in Figure 9-66.
So, without any indication of where the color stops should be positioned, they’re evenly distributed. What happens if you give them positions?
The full syntax of a <color-stop> is:
<color> [ <length> | <percentage> ]?
After every color value, you can (but don’t have to) supply a position value. This gives you the ability to distort the usual regular progression of color stops into something else.
We’ll start with lengths, since they’re pretty simple. Let’s take a rainbow progression (only a single rainbow this time) and have each color of the rainbow occur every 25 pixels, as shown in Figure 9-67:
#spectrum{background-image:linear-gradient(90deg,red,orange25px,yellow50px,green75px,blue100px,indigo125px,violet150px)};
This worked out just fine, but notice what happened after 150 pixels—the violet just continued on to the end of the gradient line. That’s what happens if you set up the color stops so they don’t make it to the end of the gradient line: the last color is just carried onward.
Conversely, if your color stops go beyond the end of the gradient line, then the gradient just stops at whatever point it manages to reach when it gets to the end of the gradient line. This is illustrated in Figure 9-68:
#spectrum{background-image:linear-gradient(90deg,red,orange200px,yellow400px,green600px,blue800px,indigo1000px,violet1200px)};
Since the last color stop is at 1,200 pixels but the gradient line is
shorter than that, the gradient just stops right around the color
blue. That’s as far as the gradient gets before running out of room.
Note that in the preceding two examples and figures, the first color
(red) didn’t have a length value. If the first color has no position,
it’s assumed to be the beginning of the gradient line. Similarly, if you
leave a position off the last color stop, it’s assumed to be the end of
the gradient line. (But note that this is not true for repeating gradients, which we’ll cover in the upcoming section “Repeating Gradients”.)
You can use any length value you like, not just pixels. Ems, inches, you name it. You can even mix different units into the same gradient, although this is not generally recommended for reasons we’ll get to in a little bit. You can even have negative length values if you want; doing so will place a color stop before the beginning of the gradient line, and clipping will occur in the same manner as it happens at the end of the line, as shown in Figure 9-69:
#spectrum{background-image:linear-gradient(90deg,red-200px,orange200px,yellow400px,green600px,blue800px,indigo1000px,violet1200px)};
As for percentages, they’re calculated with respect to the total length
of the gradient line. A color stop at 50% will be at the
midpoint of the gradient line. Let’s return to our rainbow example, and
instead of having a color stop every 25 pixels, we’ll have one every 10%
of the gradient line’s length. This would look like the following, which
has the result shown in Figure 9-70:
#spectrum{background-image:linear-gradient(90deg,red,orange10%,yellow20%,green30%,blue40%,indigo50%,violet60%)};
As we saw previously, since the last color stop comes before the end of
the gradient line, its color (violet) is carried through to the end of
the gradient. These stops are a bit more spread out than the 25-pixel
example we saw earlier, but otherwise things happen in more or less the
same way.
In cases where some color stops have position values and others don’t, the stops without positions are evenly distributed between the ones that do. Consider the following:
#spectrum{background-image:linear-gradient(90deg,red,orange,yellow50%,green,blue,indigo95%,violet)};
Because red and violet don’t have specified position values, they’re
taken to be 0% and 100%, respectively. This means that orange,
green, and blue will be evenly distributed between the explicitly
defined positions to either side.
For orange, that means the point midway between red 0% and
yellow 50%, which is 25%. For green and blue, these need to be arranged between yellow 50% and indigo 95%. That’s a 45% difference, which is divided in three, because there are three intervals between the four values. That means 65% and 80%. In the end, we get the distorted rainbow shown in Figure 9-71, exactly as if we’d declared the following:
#spectrum{background-image:linear-gradient(90deg,red0%,orange25%,yellow50%,green65%,blue80%,indigo95%,violet100%)};
This is the same mechanism used to evenly distribute stops along the
gradient line when none of them are given a position. If none
of the color stops have been positioned, the first is assumed to be 0%, the last is assumed to be 100%, and the other color stops are
evenly distributed between those two points.
You might wonder what happens if you put two color stops at exactly the same point, like this:
#spectrum{background-image:linear-gradient(90deg,red0%,orange,yellow,green50%,blue50%,indigo,violet)};
All that happens is that the two color stops are put on top of each other. The result is shown in Figure 9-72.
The gradient blended as usual all along the gradient line, but at the 50% point, it instantly blended from green to blue over zero length. So the gradient blended from yellow at the 33.3% point (two-thirds of the way from 0% to 50%) to green at the 50% point, then blended from green to blue over zero length, then blended from blue at 50% over to indigo at 75% (midway between 50% and 100%).
This “hard-stop” effect can be useful if you want to create a striped effect, like that shown in Figure 9-73, which is the result of the following code:
.stripes{background-image:linear-gradient(90deg,gray0%,gray25%,transparent25%,transparent50%,gray50%,gray75%,transparent75%,transparent100%);}
OK, so that’s what happens if you put color stops right on top of each other, but what happens if you put one before another? Something like this, say:
#spectrum{background-image:linear-gradient(90deg,red0%,orange,yellow,green50%,blue40%,indigo,violet)};
In that case, the offending color stop (blue in this case) is set to
the largest specified value of a preceding color stop. Here, it would be
set to 50%, since the stop before it had that position. Thus, the effect is the same as we saw earlier in this section, when the green and blue color stops were placed on top of each other.
The key point here is that the color stop is set to the largest
specified position of the stop that precedes it. Thus, given the
following, the indigo color stop would be set to 50%:
#spectrum{background-image:linear-gradient(90deg,red0%,orange,yellow50%,green,blue,indigo33%,violet)};
In this case, the largest specified position before the indigo stop is
the 50% specified at the yellow stop. Thus, the gradient fades from
red to orange to yellow, then has a hard switch to indigo before fading
from indigo to violet. The gradient’s fades from yellow to green to blue
to indigo all take place over zero distance. See Figure 9-74 for the
results.
This behavior is the reason why mixing units within a single gradient is generally discouraged. If you mix rems and percentages, for example, you could end up with a situation where a color stop positioned with percentages might end up before an earlier color stop positioned with rems.
Thus far, we’ve worked with color stops, but you may remember that the syntax for linear gradients permits “color hints” after each color stop:
linear-gradient(
[[ <angle> | to <side-or-quadrant> ],]? [ <color-stop> [, <color-hint>]? ]# ,
<color-stop>
)
A <color-hint> is a way of modifying the blend between the two color stops to either side. By default, the blend from one color stop to the next is linear. Thus, given the following, we get the result shown in Figure 9-75:
linear-gradient(toright,#00025%,rgb(90%,90%,90%)75%)
The blend from the 25% point to the 75% point is a constant linear progression from black (#000) to a light gray (rgb(90%,90%,90%)). Halfway between them, at the 50% mark, the shade of gray is exactly halfway between the colors defined by the color stops to either side. That calculates to rgb(45%,45%,45%).
With color hints, we can change the midpoint of the progression. Instead of reaching rgb(45%,45%,45%) at the halfway point, it can be set for any point in between the two stops. Thus, the following CSS leads to the result seen in Figure 9-76:
#ex01{background:linear-gradient(toright,#00025%,rgb(90%,90%,90%)75%);}#ex02{background:linear-gradient(toright,#00025%,33%,rgb(90%,90%,90%)75%);}#ex03{background:linear-gradient(toright,#00025%,67%,rgb(90%,90%,90%)75%);}#ex04{background:linear-gradient(toright,#00025%,25%,rgb(90%,90%,90%)75%);}#ex05{background:linear-gradient(toright,#00025%,75%,rgb(90%,90%,90%)75%);}
In the first case (#ex01), the default linear progression is used, with the middle color (45% black) occurring at the midpoint between the two color stops.
In the second case (#ex02), the middle color happens at the 33% point of the gradient line. So the first color stop is at the 25% point on the line, the middle color happens at 33%, and the second color stop happens at 75%.
In the third example (#ex03), the midpoint is at the 67% point of the gradient line; thus, the color fades from black at 25% to the middle color at 67%, and then from that middle color at 67% to light gray at 75%.
The fourth and fifth examples show what happens when you put a color hint’s distance right on top of one of the color stops: you get a “hard stop.”
The interesting thing about color hinting is that the progression from color stop to color hint to color stop is not just a set of two linear progressions. Instead, there is some “curving” to the progression, in order to ease from one side of the color hint to the other. This is easiest to see by comparing what would seem to be, but actually are not, two gradients that do the same thing. As you can see in Figure 9-77, the result is rather different:
#ex01{background:linear-gradient(toright,#00025%,rgb(45%,45%,45%)67%,/* this is a color stop */rgb(90%,90%,90%)75%);}#ex02{background:linear-gradient(toright,#00025%,67%,/* this is a color hint */rgb(90%,90%,90%)75%);}
Notice how the gray progression is different between the two examples. The first shows a linear progression from black to rgb(45%,45%,45%), and then another linear progression from there to rgb(90%,90%,90%). The second progresses from black to the light gray over the same distance, and the color-hint point is at the 67% mark, but the gradient is altered to attempt a smoother overall progression. The colors at 25%, 67%, and 75% are the same in both examples, but all the other shades along the way are different between the two.
Now that you have a grasp of the basics of placing color stops, it’s time to look closely at how gradient lines are actually constructed, and thus how they create the effects that they do.
First, let’s set up a simple gradient so we can then dissect how it works:
linear-gradient(55deg,#4097FF,#FFBE00,#4097FF)
Now, how does this one-dimensional construct—a line at 55 degrees on the compass—create a two-dimensional gradient fill? First, the gradient line is placed and its start and ending points determined. This is diagrammed in Figure 9-78, with the final gradient shown next to it.
The first thing to make very clear is that the box seen here is not an
element—it’s the linear-gradient image itself. (Remember, we’re
creating images here.) The size and shape of that image can depend on a
lot of things, whether it’s the size of the element’s background or the
application of properties like background-size, which is a topic we’ll
cover in a bit. For now, we’re just concentrating on the image itself.
OK, so in Figure 9-78, you can see that the gradient line goes straight through the center of the image. The gradient line always goes through the center of the gradient image. In this case, we set it to a 55-degree angle, so it’s pointing at 55 degrees on the compass. What’s interesting are the start and ending points of the gradient line, which are actually outside the image.
Let’s talk about the start point first. It’s the point on the gradient
line where a line perpendicular to the gradient line intersects with the
corner of the image furthest away from the gradient line’s direction
(55deg). Conversely, the gradient line’s ending point is the point on the
gradient line where a perpendicular line intersects the corner of the
image nearest to the gradient line’s direction.
Bear in mind that the terms “start point” and “ending point” are a little
bit misleading—the gradient line doesn’t actually stop at either point.
The gradient line is, in fact, infinite. However, the start point is
where the first color stop will be placed by default, as it corresponds
to position value 0%. Similarly, the ending point corresponds to the
position value 100%.
Therefore, given the gradient we defined before:
linear-gradient(55deg,#4097FF,#FFBE00,#4097FF)
the color at the start point will be #4097FF, the color at the
midpoint (which is also the center of the image) will be #FFBE00, and
the color at the ending point will be #4097FF, with smooth blending in
between. This is illustrated in Figure 9-79.
All right, fine so far. But, you may wonder, how do the bottom-left and top-right corners of the image get set to the same blue that’s calculated for the start and ending points, if those points are outside the image? Because the color at each point along the gradient line is extended out perpendicularly from the gradient line. This is partially shown in Figure 9-80 by extending perpendicular lines at the start and ending points, as well as every 5% of the gradient line between them.
That should be enough to let you fill in the rest mentally, so let’s consider what happens to the gradient image in various other settings. We’ll use the same gradient definition as before, but this time apply it to wide, square, and tall images. These are shown in Figure 9-81. Note how the start-point and ending-point colors always make their way into the corners of the gradient image.
Note how I very carefully said “the start-point and ending-point colors,” and did not say “the start and end colors.” That’s because, as we saw earlier, color stops can be placed before the start point and after the ending point, like so:
linear-gradient(55deg,#4097FF-25%,#FFBE00,#4097FF125%)
The placement of these color stops as well as the start point and ending point, the way the colors are calculated along the gradient line, and the final gradient are all shown in Figure 9-82.
Once again, we see that the colors in the bottom-left and top-right corners match the start-point and ending-point colors. It’s just that in this case, since the first color stop came before the start point, the actual color at the start point is a blend of the first and second color stops. Likewise for the ending point, which is a blend of the second and third color stops.
Now here’s where things get a little bit wacky. Remember how you can use
directional keywords, like top and right, to indicate the direction
of the gradient line? Suppose you wanted the gradient line to go toward
the top right, so you create a gradient image like this:
linear-gradient(totopright,#4097FF-25%,#FFBE00,#4097FF125%)
This does not cause the gradient line to intersect with the top-right corner. Would that it did! Instead, what happens is a good deal stranger. First, let’s diagram it in Figure 9-83 so that we have something to refer to.
Your eyes do not deceive you: the gradient line is way off from the top-right corner. On the other hand, it is headed into the top-right
quadrant of the image. That’s what to top right really means: head
into the top-right quadrant of the image, not into the top-right corner.
As Figure 9-83 shows, the way to find out exactly what that means is to do the following:
Shoot a line from the midpoint of the image into the corners adjacent to the corner in the quadrant that’s been declared. Thus, for the top-right quadrant, the adjacent corners are the top left and bottom right.
Draw the gradient line perpendicular to that line, pointing into the declared quadrant.
Construct the gradient—that is, determine the start and ending points, place or distribute the color stops, then calculate the entire gradient image, as per usual.
This process has a few interesting side effects. First, it means that the color at the midpoint will always stretch from one quadrant-adjacent corner to the other. Second, it means that if the image’s shape changes—that is, if its ratio of height to width changes—then the gradient line will also change direction, meaning that the gradient will reorient. So watch out for that if you have flexible elements. Third, a perfectly square gradient image will have a gradient line that intersects with a corner. Examples of these three side effects are depicted in Figure 9-84, using the following gradient definition in all three cases:
linear-gradient(totopright,purple,green49.5%,black50%,green50.5%,gold)
Sadly, there is no way to say “point the gradient line into the corner of a nonsquare image” short of calculating the necessary degree heading yourself and declaring it explicitly, a process that will require JavaScript unless you know the image will always be an exact size in all cases, forever.
Linear gradients are pretty awesome, but there are times when you really want a circular gradient. You can use such a gradient to create a spotlight effect, a circular shadow, a rounded glow, or any number of other effects. The syntax used is similar to that for linear gradients, but there are some interesting differences:
radial-gradient(
[ [ <shape> ‖ <size> ] [ at <position>]? , | at <position>, ]?
[ <color-stop> [, <color-hint>]? ] [, <color-stop> ]+
)
What this boils down to is you can optionally declare a shape and size, optionally declare where it center of the gradient is positioned, and then declare two or more color stops with optional color hints in between the stops. There are some interesting options in the shape and size bits, so let’s build up to those.
First, let’s look at a simple radial gradient—the simplest possible, in fact—presented in a variety of differently shaped elements (Figure 9-85):
.radial{background-image:radial-gradient(purple,gold);}
In all of these cases, because no position was declared, the default of
center was used. Because no shape was declared, the shape is an
ellipse for all cases but the square element; in that case, the shape is
a circle. Finally, because no color-stop or color-hint positions were declared, the
first is placed at the beginning of the gradient ray, and the last at
the end, with a linear blend from one to the other.
That’s right: the gradient ray, which is the radial equivalent to the gradient line in linear gradients. It extends outward from the center of the gradient directly to the right, and the rest of the gradient is constructed from it. (We’ll get to the details on that in just a bit.)
First off, there are exactly two possible shape values (and thus two
possible shapes) for a radial gradient: circle and ellipse. The
shape of a gradient can be declared explicitly, or it can be implied by
the way you size the gradient image.
So, on to sizing. As always, the simplest way to size a radial gradient is with either one non-negative length (if you’re sizing a circle) or two non-negative lengths (if it’s an ellipse). Say you have this radial gradient:
radial-gradient(50px,purple,gold)
This creates a circular radial gradient that fades from purple at the center to gold at a distance of 50 pixels from the center. If we add another length, then the shape becomes an ellipse that’s as wide as the first length, and as tall as the second length:
radial-gradient(50px100px,purple,gold)
These two gradients are illustrated in Figure 9-86.
Notice how the shape of the gradients has nothing to do with the overall size and shape of the images in which they appear. If you make a gradient a circle, it will be a circle, even if it’s inside a rectangular gradient image. So too will an ellipse always be an ellipse, even when inside a square gradient image (where it will look like a circle, since an ellipse with the same height and width forms a circle).
You can also use percentage values for the size, but only for
ellipses. Circles cannot be given percentage sizes because there’s no
way to indicate the axis to which that percentage refers. (Imagine an
image 100 pixels tall by 500 wide. Should 10% mean 10 pixels or 50
pixels?) If you try to provide percentage values for a circle, the entire declaration will fail due to the invalid value.
If you do supply percentages to an ellipse, then as usual, the first refers to the horizontal axis and the second to the vertical. The following gradient is shown in various settings in Figure 9-87:
radial-gradient(50%25%,purple,gold)
When it comes to ellipses, you’re also able to mix lengths and percentages, with the usual caveat to be careful. So if you’re feeling confident, you can absolutely make an elliptical radial gradient 10 pixels tall and half the element width, like so:
radial-gradient(50%10px,purple,gold)
As it happens, lengths and percentages aren’t the only way to size radial gradients. In addition to those value types, there are also four keywords available for sizing radial gradients, the effects of which are summarized in Table 9-3.
| Keyword | Meaning |
|---|---|
closest-side |
If the radial gradient’s shape is a circle, the gradient is sized so that the end of the gradient ray exactly touches the edge of the gradient image that is closest to the center point of the radial gradient. If the shape is an ellipse, then the end of the gradient ray exactly touches the closest edge in each of the horizontal and vertical axes. |
farthest-side |
If the radial gradient’s shape is a circle, the gradient is sized so that the end of the gradient ray exactly touches the edge of the gradient image that is farthest from the center point of the radial gradient. If the shape is an ellipse, then the end of the gradient ray exactly touches the farthest edge in each of the horizontal and vertical axes. |
closest-corner |
If the radial gradient’s shape is a circle, the gradient is sized so that the end of the gradient ray exactly touches the corner of the gradient image that is closest to the center point of the radial gradient. If the shape is an ellipse, then the end of the gradient ray still touches the corner closest to the center, and the ellipse has the same aspect ratio that it would have had if |
farthest-corner (default) |
If the radial gradient’s shape is a circle, the gradient is sized so that the end of the gradient ray exactly touches the corner of the gradient image that is farthest from the center point of the radial gradient. If the shape is an ellipse, then the end of the gradient ray still touches the corner farthest from the center, and the ellipse has the same aspect ratio that it would have had if |
In order to better visualize the results of each keyword, see Figure 9-88, which depicts each keyword applied as both a circle and an ellipse.
These keywords cannot be mixed with lengths or percentages in elliptical
radial gradients; thus, closest-side 25px is invalid and will be
ignored.
Something you might have noticed in Figure 9-88 is that the gradients didn’t start at the center of the image. That’s because they were positioned elsewhere, which is the topic of the next section.
If you want to shift the center of a radial gradient away from the
default of center, then you can do so using any position value that
would be valid for background-position. I’m not going to reproduce
that rather complicated syntax here; flip back to the section on
background-position (“Background Positioning”) if you need a refresher.
When I say “any position value that would be valid,” that means any
permitted combination of lengths, percentages, keywords, and so on. It also means that if you leave off one of the two position values, it will be inferred just the same as for background-position. So, just for one
example, center is equivalent to center center. The one major difference between radial gradient positions and background
positions is the default: for radial gradients, the default position is
center, not 0% 0%.
To give some idea of the possibilities, consider the following rules, illustrated in Figure 9-89:
radial-gradient(atbottomleft,purple,gold);radial-gradient(atcenterright,purple,gold);radial-gradient(at30px30px,purple,gold);radial-gradient(at25%66%,purple,gold);radial-gradient(at30px66%,purple,gold);
None of those positioned radial gradients were explicitly
sized, so they all defaulted to farthest-corner. That’s a reasonable
guess at the intended default behavior, but it’s not the only
possibility. Let’s mix some sizes into the gradients we just saw and
find out how that changes things (as depicted in Figure 9-90):
radial-gradient(30pxatbottomleft,purple,gold);radial-gradient(30px15pxatcenterright,purple,gold);radial-gradient(50%15%at30px30px,purple,gold);radial-gradient(farthest-sideat25%66%,purple,gold);radial-gradient(farthest-cornerat30px66%,purple,gold);
Nifty. Now, suppose we want something a little more complicated than a fade from one color to another. Next stop, color stops!
Color stops for radial gradients have the same syntax, and work in a similar fashion, to linear gradients. Let’s return to the simplest possible radial gradient and follow it with a more explicit equivalent:
radial-gradient(purple,gold);radial-gradient(purple0%,gold100%);
So the gradient ray extends out from the center point. At 0% (the start point, and also the center of the gradient), the ray will be purple. At 100% (the ending point), the ray will be gold. Between the two stops is a smooth blend from purple to gold; beyond the ending point, solid gold.
If we add a stop between purple and gold, but don’t give it a position, then it will be placed midway between them, and the blending will be altered accordingly, as shown in Figure 9-91:
radial-gradient(100pxcircleatcenter,purple0%,green,gold100%);
We’d have gotten the same result if we’d added green 50% there, but
you get the idea. The gradient ray’s color goes smoothly from purple to
green to gold, and then is solid gold beyond that point on the ray.
This illustrates one difference between gradient lines (for linear gradients) and gradient rays: a linear gradient is derived by extending the color at each point along the gradient line off perpendicular to the gradient line. A similar behavior occurs with a radial gradient, except in that case, they aren’t lines that come off the gradient ray. Instead, they are ellipses that are scaled-up or scaled-down versions of the ellipse at the ending point. This is illustrated in Figure 9-92, where an ellipse shows its gradient ray and then the ellipses that are drawn at various points along that ray.
That brings up an interesting question: how is the ending point (the 100%
point, if you like) determined for each gradient ray? It’s the
point where the gradient ray intersects with the shape described by the
size. In the case of a circle, that’s easy: the gradient ray’s ending point is however far from the center that the size value indicates. So for a 25px circle gradient, the ending point of the ray is 25 pixels from the center.
For an ellipse, it’s essentially the same operation, except that the
distance from the center is dependent on the horizontal axis of the
ellipse. Given a radial gradient that’s a 40px 20px ellipse, the ending
point will be 40 pixels from the center and directly to its right.
Figure 9-93 shows this in some detail.
Another difference between linear gradient lines and radial gradient rays is that you can see beyond the ending point. If you recall, a linear gradient line is always drawn so that you can see the colors at the 0% and 100% points, but nothing beyond them; the gradient line can never be any smaller than the longest axis of the gradient image, and will frequently be longer than that. With a radial gradient, on the other hand, you can size the radial shape to be smaller than the total gradient image. In that case, the color at the last color stop is extended outward from the ending point. (We’ve already seen this in several previous figures.)
Conversely, if you set a color stop that’s beyond the ending point of a ray, you might get to see the color out to that stop. Consider the following gradient, illustrated in Figure 9-94:
radial-gradient(50pxcircleatcenter,purple,green,gold80px)
The first color stop has no position, so it’s set to 0%, which is the
center point. The last color stop is set to 80px, so it will be 80
pixels away from the center in all directions. The middle color stop,
green, is placed midway between the two (40 pixels from the center).
So we get a gradient that goes out to gold at 80 pixels and then
continues gold beyond that point.
This happens even though the circle was explicitly set to be 50 pixels large. It still is 50 pixels in radius, it’s just that the positioning of the last color stop makes that fact vaguely irrelevant. Visually, we might as well have declared this:
radial-gradient(80pxcircleatcenter,purple,green,gold)
or, more simply, just this:
radial-gradient(80px,purple,green,gold)
The same behaviors apply if you use percentages for your color stops. These are equivalent to the previous examples, and to each other, visually speaking:
radial-gradient(50px,purple,green,gold160%)radial-gradient(80px,purple,green,gold100%)
Now, what if you set a negative position for a color stop? It’s pretty much the same result as we saw with linear gradient lines: the negative color stop is used to figure out the color at the start point, but is otherwise unseen. Thus, the following gradient will have the result shown in Figure 9-95:
radial-gradient(80px,purple-40px,green,gold)
Given these color-stop positions, the first color stop is at -40px,
the last is at 80px (because, given its lack of an explicit position, it defaults to the ending point), and the middle is placed midway between
them. The result is the same as if we’d explicitly said:
radial-gradient(80px,purple-40px,green20px,gold80px)
That’s why the color at the center of the gradient is a green-purple: it’s a blend of one-third purple, two-thirds green. From there, it blends the rest of the way to green, and then on to gold. The rest of the purple-green blend, the part that sits on the “negative space” of the gradient ray, is invisible.
Given that we can declare size and position for a radial gradient, the
question arises: what if a circular gradient has zero radius, or an
elliptical gradient has zero height or width? These conditions aren’t
quite as hard to create as you might think: besides explicitly
declaring that a radial gradient has zero size using 0px or 0%, you
could also do something like this:
radial-gradient(closest-cornercircleattopright,purple,gold)
The gradient’s size is set to closest-corner, and the center has been
moved into the top right corner, so the closest corner is zero pixels
away from the center. Now what?
In this case, the specification very explicitly says that the gradient should be rendered as if it’s “a circle whose radius [is] an arbitrary very small number greater than zero.” So that might mean as if it had a radius of one-one-billionth of a pixel, or a picometer, or heck, the Planck length. (Kids, ask your science teacher.) The interesting thing is that it means the gradient is still a circle. It’s just a very, very, very small circle. Probably, it will be too small to actually render anything visible. If so, you’ll just get a solid-color fill that corresponds to the color of the last color stop instead.
Ellipses with zero-length dimensions have fascinatingly different defined behaviors. Let’s assume the following:
radial-gradient(0px50%atcenter,purple,gold)
The specification states that any ellipse with a zero width is rendered
as if it’s “an ellipse whose height [is] an arbitrary very large number
and whose width [is] an arbitrary very small number greater than zero.”
In other words, render it as though it’s a linear gradient mirrored
around the vertical axis running through the center of the ellipse. The
specification also says that in such a case, any color stops with
percentage positions resolve to 0px. This will usually result in a
solid color matching the color defined for the last color stop.
On the other hand, if you use lengths to position the color stops, you can get a vertically mirrored horizontal linear gradient for free. Consider the following gradient, illustrated in Figure 9-96:
radial-gradient(0px50%atcenter,purple0px,gold100px)
How did this happen? First, remember that the specification says that the 0px horizontal width is treated as if it’s a tiny non-zero number. For the sake of illustration, let’s suppose that’s one-one-thousandth of a pixel (0.001 px). That means the ellipse shape is a thousandth of a pixel wide by half the height of the image. Again for the sake of illustration, let’s suppose that’s a height of 100 pixels. That means the first ellipse shape is a thousandth of a pixel wide by 100 pixels tall, which is an aspect ratio of 0.001:100, or 1:100,000.
OK, so every ellipse drawn along the gradient ray has a 1:100,000 aspect ratio. That means the ellipse at half a pixel along the gradient ray is 1 pixel wide and 100,000 pixels tall. At 1 pixel, it’s 2 pixels wide and 200,000 pixels tall. At 5 pixels, the ellipse is 10 pixels by a million pixels. At 50 pixels along the gradient ray, the ellipse is 100 pixels wide and 10 million tall. And so on. This is diagrammed in Figure 9-97.
So you can see why the visual effect is of a mirrored linear gradient. These ellipses are effectively drawing vertical lines. Technically they aren’t, but in practical terms they are. The result is as if you have a vertically mirrored horizontal gradient, because each ellipse is centered on the center of the gradient, and both sides of it get drawn. While this may be a radial gradient, we can’t see its radial nature.
On the other hand, if the ellipse has width but not height, the results are quite different. You’d think the result would be to have a vertical linear gradient mirrored around the horizontal axis, but not so! Instead, the result is a solid color equal to the last color stop. (Unless it’s a repeating gradient, a subject we’ll turn to shortly, in which case it should be a solid color equal to the average color of the gradient.) So, given either of the following, you’ll get a solid gold:
radial-gradient(50%0pxatcenter,purple,gold)radial-gradient(50%0pxatcenter,purple0px,gold100px)
Why the difference? It goes back to how radial gradients are constructed from the gradient ray. Again, remember that, per the specification, a zero distance here is treated as a very small non-zero number. As before, we’ll assume that 0px is reassigned to 0.001px, and that the 50% evaluates to 100 pixels. That’s an aspect ratio of 100:0.001, or 100,000:1.
So, to get an ellipse that’s 1 pixel tall, the width of that ellipse must be 100,000 pixels. But our last color stop is only at 100 pixels! At that point, the ellipse that’s drawn is 100 pixels wide and 1,000th of a pixel tall. All of the purple-to-gold transition that happens along the gradient ray has to happen in that thousandth of a pixel. Everything after that is gold, as per the final color stop. Thus, we can only see the gold.
You might think that if you increased the position value of the last color stop to 100000px, you’d see a thin sliver of purple-ish color running horizontally across the image. And you’d be right, if the browser treats 0px as 0.001px in these cases. If it assumes 0.00000001px instead, you’d have to increase the color stop’s position a lot further in order to see anything. And that’s assuming the browser was actually caulculating and drawing all those ellipses, instead of just hard-coding the special cases. The latter is a lot more likely, honestly. It’s what I’d do if I were in charge of a browser’s gradient-rendering code.
And what if an ellipse has zero width and zero height? In that case, the specification is written such that the zero-width behavior is used; thus, you’ll get the mirrored-linear-gradient behavior.
As has been emphasized (possibly to excess), gradients are images. That means you can size, position, repeat, and otherwise affect them with the various background properties, just as you would any PNG or SVG.
One way this can be leveraged is to repeat simple gradients. (Repeating in more complex ways is the subject of the next section.) For example, you could use a hard-stop radial gradient to give your background a dotted look, as shown in Figure 9-97:
body{background:tancenter/25px25pxrepeatradial-gradient(circleatcenter,rgba(0,0,0,0.1),rgba(0,0,0,0.1)10px,transparent10px,transparent);}
Yes, this is visually pretty much the same as tiling a PNG that has a mostly-transparent dark circle 10 pixels in diameter. There are three advantages to using a gradient in this case:
The CSS is almost certainly smaller in bytes than the PNG would be.
Even more importantly, the PNG requires an extra hit on the server. This slows down both page and server performance. A CSS gradient is part of the stylesheet and so eliminates the extra server hit.
Changing the gradient is a lot simpler, so experimenting to find exactly the right size, shape, and darkness is much easier.
Gradients can’t do everything a raster or vector image can, so it’s not as though you’ll be giving up external images completely now that gradients are a thing. You can still pull off some pretty impressive effects with gradients, though. Consider the background effect shown in Figure 9-99.
That curtain effect was accomplished with just two linear gradients repeated at differing intervals, plus a third to create a “glow” effect along the bottom of the background. Here’s the code that accomplished it:
background-image:linear-gradient(0deg,rgba(255,128,128,0.25),transparent75%),linear-gradient(89deg,transparent,transparent30%,#510A0E35%,#510A0E40%,#61100F43%,#B93F3A50%,#4B040855%,#6A0F1860%,#65101565%,#510A0E70%,#510A0E75%,rgba(255,128,128,0)80%,transparent),linear-gradient(92deg,#510A0E,#510A0E20%,#61100F25%,#B93F3A40%,#4B040850%,#6A0F1870%,#65101580%,#510A0E90%,#510A0E);background-size:auto,300px100%,109px100%;background-repeat:repeat-x;
The first (and therefore topmost) gradient is just a fade from a 75%-transparent light red up to full transparency at the 75% point of the gradient line. Then two “fold” images are created. Figure 9-100 shows each separately.
With those images defined, they are repeated along the x-axis and given different sizes. The first, which is the “glow” effect,
is given auto size in order to let it cover the entire element
background. The second is given a width of 300px and a height of
100%; thus, it will be as tall as the element background and 300
pixels wide. This means it will be tiled every 300 pixels along the x-axis. The same is true of the third image, except it tiles every 109
pixels. The end result looks like an irregular stage curtain.
The beauty of this is that adjusting the tiling intervals is just a matter of editing the stylesheet. Changing the color-stop positions or the colors is less trivial, but not too difficult if you know what effect you’re after. And adding a third set of repeating folds is no more difficult than just adding another gradient to the stack.
Gradients are pretty awesome by themselves, but because they are images, they can be subject to strange behaviors when they are tiled. For example, if you declare:
h1.exmpl{background:linear-gradient(-45deg,black0,black25px,yellow25px,yellow50px)topleft/40px40pxrepeat;}
then you could easily end up with a situation like that shown in Figure 9-101.
As the figure shows, there is a discontinuity where the images repeat. You could try to nail down the exact sizes of the element and gradient image and then mess with the construction of the gradient image in order to try to make the sides line up, but it would be a lot better if there was just a way to say, “repeat this seamlessly forever.”
Enter repeating gradients. For the previous example, all we need is to
convert linear-gradient to repeating-linear-gradient and drop the
background-size value. Everything else about the code stays the same.
The effect is much different, however, as you can see in Figure 9-102:
h1.exmpl{background:repeating-linear-gradient(-45deg,black0,black25px,yellow25px,yellow50px)topleft;}
An equivalent to the previous code block, using color hints instead of all color stops, is:
h1.exmpl{background:repeating-linear-gradient(-45deg,black0,black25px,25px,yellow50px)topleft;}
What happens with a repeating linear gradient is that the declared color stops and color hints are repeated on a loop along the gradient line, over and over, forever. Given the previous examples, that means switching between black and yellow every 25 pixels forever.
Note that the last color stop has an explicit length (50px). This is important with repeating gradients, because the length value on the last color stop defines the overall length of the pattern.
Now, those examples work because there’s supposed to be a hard stop where the gradient repeats. If you’re using smoother transitions, you need to be careful that the color value at the last color stop matches the color value at the first color stop. Consider this:
repeating-linear-gradient(-45deg,purple0px,gold50px)
This will produce a smooth gradient from purple to gold at 50 pixels, and then a hard switch back to purple and another 50-pixel purple-to-gold blend. By adding one more color stop with the same color as the first color stop, the gradient can be smoothed out to avoid hard-stop lines. See Figure 9-103 for a comparison of the two approaches:
repeating-linear-gradient(-45deg,purple0px,gold50px,purple100px)
You may have noticed that none of the repeating gradients we’ve seen so
far have a defined size. That means the images are defaulting in size to
the full background positioning area of the element to which they’re
applied, per the default behavior for images that have no intrinsic
height and width. If you were to resize a repeating-gradient
image using background-size, the repeating gradient would only be
visible within the gradient image. If you then repeated it using
background-repeat, you could very easily be back to the situation of
having discontinuities in your background, as illustrated in Figure 9-104:
h1.exmpl{background:repeating-linear-gradient(-45deg,purple0px,gold50px,purple100px)topleft/50px50pxrepeat;}
If you use percentages in your repeating linear gradients, they’ll be placed the same as if the gradient wasn’t of the repeating variety. Then again, this would mean that all of the gradients defined by those color stops would be seen and none of the repetitions would be visible, so percentages are kind of pointless with repeating linear gradients.
On the other hand, percentages can be very useful with repeating radial gradients, where the size of the circle or ellipse is defined, percentage positions along the gradient ray are defined, and you can see beyond the endpoint of the gradient ray. For example, assume:
.allhail{background:repeating-radial-gradient(100px50px,purple,gold20%,green40%,purple60%,yellow80%,purple);}
Given this rule, there will be a color stop every 20 pixels, with the colors repeating in the declared pattern. Because the first and last color stops have the same color value, there is no hard color switch. The ripples just spread out forever, or at least until they’re beyond the edges of the gradient image. See Figure 9-105 for an example.
Just imagine what that would look like with a repeating radial gradient of a rainbow!
.wdim{background:repeating-radial-gradient(100pxcircleatbottomcenter,rgb(83%,83%,83%)50%,violet55%,indigo60%,blue65%,green70%,yellow75%,orange80%,red85%,rgb(47%,60%,73%)90%);}
There are a couple of things to keep in mind when creating repeating radial gradients:
If you don’t declare size dimensions for a radial, it will default to an ellipse that has the same height-to-width ratio as the overall gradient image; and, if you don’t declare a size for the image with background-size, the gradient image will default to the height and width of the element background where it’s being applied. (Or, in the case of being used as a list-style bullet, the size that the browser gives it.)
The default radial size value is farthest-corner. This will put the endpoint of the gradient ray far enough to the right that its ellipse intersects with the corner of the gradient image that’s furthest from the center point of the radial gradient.
These are reiterated here to remind you that if you stick to the defaults, there’s not really any point to having a repeating gradient, since you’ll only be able to see the first iteration of the repeat. It’s only when you restrict the initial size of the gradient that the repeats become visible.
Radial gradients, and in particular repeating radial gradients, created massive performance drains in older mobile devices. Crashes were not uncommon in these situations, and both page rendering time and battery performance could suffer greatly. Think very, very carefully about using radial gradients in mobile contexts, and be sure to rigorously test their performance and stability in any context, especially if you have users with older devices (and therefore older browsers).
Another edge case is what happens if a repeating gradient’s first and last color stops somehow end up being in the same place. For example, suppose your fingers missed the “5” key and you accidentally declared the following:
repeating-radial-gradient(center,purple0px,gold0px)
The first and last color stops are zero pixels apart, but the gradient is supposed to repeat ad infinitum along the gradient line. Now what?
In such a case, the browser finds the average gradient color and fills
it in throughout the entire gradient image. In our simple case in the preceding code, that will be a 50/50 blend of purple and gold (which will be about #C06C40 or rgb(75%,42%,25%)). Thus, the resulting gradient image should be a solid orangey-brown, which doesn’t really look much like a gradient.
This condition can also be triggered in cases where the browser rounds
the color-stop positions to zero, or cases where the distance between
the first and last color stops is so small as compared to the output
resolution that nothing useful can be rendered. This could happen if,
for example, a repeating radial gradient used all percentages for the
color-stop positions and was sized using closest-side, but was
accidentally placed into a corner.
In an earlier chapter, we explored the property text-shadow, which adds a drop shadow to the text of a non-replaced element. There’s a version of this that creates a shadow for the box of an element, called box-shadow.
It might seem a little out of place to talk about shadows in a chapter mostly concerned with backgrounds and gradients, but there’s a reason it goes here, which we’ll see in a moment.
Let’s consider a simple box drop shadow: one that’s 10 pixels down and 10 pixels to the right of an element box, with no spread or blur, and a half-opaque black. Behind it we’ll put a repeating background on the body element. All of this is illustrated in Figure 9-106.
#box{background:silver;border:mediumsolid;box-shadow:10px10pxrgba(0,0,0,0.5);}
We can see that the body’s background is visible through the half-opaque (or half-transparent, if you prefer) drop shadow. Because no blur or spread distances were defined, the drop shadow exactly mimics the outer shape of the element box itself. At least, it appears to do so.
The reason it only appears to mimc the shape of the box is that the shadow is only visible outside the outer border edge of the element. We couldn’t really see that in the previous figure, because the element had an opaque background. You might have just assumed that the shadow extended all the way under the element, but it doesn’t. Consider the following, illustrated in Figure 9-107.
#box{background:transparent;border:thindashed;box-shadow:10px10pxrgba(0,0,0,0.5);}
So it looks as though the element’s content (and padding and border) area “knocks out” part of the shadow. In truth, it’s just that the shadow was never drawn there, due to the way box shadows are defined in the specification. This does mean, as Figure 9-107 demonstrates, that any background “behind” the box with a drop shadow can be visible through the element itself. This (perhaps bizarre-seeming) interaction with the backgrounds and borders is why box-shadow is covered here, instead of at an earlier point in the text.
So far, we’ve seen box shadows defined with two length values. The first defines a horizontal offset, and the second a vertical offset. Positive numbers move the shadow down and to right right, and negative numbers move the shadow up and to the left.
If a third length is given, it defines a blur distance, which determines how much space is given to blurring. A fourth length defines a spread distance, which change the size of the shadow. Positive length values make the shadow expand before blurring happens; negative values cause the shadow to shrink. The following have the results shown in Figure 9-108.
.box:nth-of-type(1){box-shadow:1em1em2pxrgba(0,0,0,0.5);}.box:nth-of-type(2){box-shadow:2em0.5em0.25emrgba(128,0,0,0.5);}.box:nth-of-type(3){box-shadow:0.5em2ch1vw13pxrgba(0,128,0,0.5);}.box:nth-of-type(4){box-shadow:-10px25px5px-5pxrgba(0,128,128,0.5);}.box:nth-of-type(5){box-shadow:0.67em1.33em0-0.1emrgba(0,0,0,0.5);}.box:nth-of-type(6){box-shadow:0.67em1.33em0.2em-0.1emrgba(0,0,0,0.5);}.box:nth-of-type(7){box-shadow:002ch2chrgba(128,128,0,0.5);}
You may have noticed that some of the boxes in Figure 9-108 have rounded corners (via border-radius), and that their shadows were curved to match. This is the defined behavior, fortunately.
There’s one aspect of box-shadow we have yet to cover, which is the inset keyword. If inset is added to the value of box-shadow, then the shadow is rendered inside the box, as if the box were a punched-out hole in the canvas rather than floating above it (visually speaking). Let’s take the previous set of examples and redo them with inset shadows. This will have the result shown in Figure 9-109.
.box:nth-of-type(1){box-shadow:inset1em1em2pxrgba(0,0,0,0.5);}.box:nth-of-type(2){box-shadow:inset2em0.5em0.25emrgba(128,0,0,0.5);}.box:nth-of-type(3){box-shadow:0.5em2ch1vw13pxrgba(0,128,0,0.5)inset;}.box:nth-of-type(4){box-shadow:inset-10px25px5px-5pxrgba(0,128,128,0.5);}.box:nth-of-type(5){box-shadow:0.67em1.33em0-0.1emrgba(0,0,0,0.5)inset;}.box:nth-of-type(6){box-shadow:inset0.67em1.33em0.2em-0.1emrgba(0,0,0,0.5);}.box:nth-of-type(7){box-shadow:002ch2chrgba(128,128,0,0.5)inset;}
Note that the inset keyword can appear before the rest of the value, or after, but not in the middle of the lengths and colors. A value like 0 0 0.1em inset gray would be ignored as invalid, because of the placement of the inset keyword.
The last thing to note is that you can apply to an element a list of as many comma-separated box shadows as you like, just as with text shadows. Some could be inset, and some outset. The following rules are just two of the infinite possibilities.
#shadowbox{background:#EEE;box-shadow:inset1ch1ch0.25chrgba(0,0,0,0.25),1.5ch1.5ch0.4chrgba(0,0,0,0.33);}#wacky{box-shadow:inset10px2vh0.77em1chred,1cm1in0-1pxcyaninset,2ch3ch0.5chhsla(117,100%,50%,0.343),-2ch-3ch0.5chhsla(297,100%,50%,0.23);}
The filter property is another way to create element drop shadows, although it is much closer in behavior to text-shadow than box-shadow, albeit applying to the entire element box and text. See Chapter 19 for details.
Setting colors and backgrounds on elements gives authors a great deal of power. The advantage of CSS over traditional methods is that colors and backgrounds can be applied to any element in a document.
For a very long time, floated elements were the basis of all our web
layout schemes. (This is largely because of the property clear, which
we’ll get to in a bit.) But floats were never meant for layout; their
use as a layout tool was a hack nearly as egregious as the use of tables
for layout. They were just what we had.
Floats are quite interesting and useful in their own right, however, especially given the recent addition of float shaping, which allows the creation of nonrectangular shapes past which content can flow.
You are likely acquainted with the concept of floated
elements. Ever since Netscape 1.1, it has been possible to float images
by declaring, for instance, <img src="b5.gif" align="right">. This
causes an image to float to the right and allows other content (such as
text) to “flow around” the image. The name “floating,” in fact, comes
from the Netscape DevEdge page “Extensions to HTML 2.0,” which stated:
The additions to your ALIGN options need a lot of explanation. First, the values “left” and “right”. Images with those alignments are an entirely new floating image type.
In the past, it was only possible to float images and, in some browsers,
tables. CSS, on the other hand, lets you float any element, from images
to paragraphs to lists. In CSS, this behavior is accomplished using the
property float.
For example, to float an image to the left, you could use this markup:
<imgsrc="b4.gif"style="float: left;"alt="b4">
As Figure 10-1 makes clear, the image “floats” to the left side of the browser window and the text flows around it. This is just what you should expect.
However, when floating elements in CSS, some interesting issues come up.
Keep a few things in mind with regard to floating elements. In the first place, a floated element is, in some ways, removed from the normal flow of the document, although it still affects the layout. In a manner utterly unique within CSS, floated elements exist almost on their own plane, yet they still have influence over the rest of the document.
This influence derives from the fact that when an element is floated, other content “flows around” it. This is familiar behavior with floated images, but the same is true if you float a paragraph, for example. In Figure 10-2, you can see this effect quite clearly, thanks to the margin added to the floated paragraph:
p.aside{float:right;width:15em;margin:01em1em;padding:0.25em;border:1pxsolid;}
One of the first interesting things to notice about floated elements is that margins around floated elements do not collapse. If you float an image with 20-pixel margins, there will be at least 20 pixels of space around that image. If other elements adjacent to the image—and that means adjacent horizontally and vertically—also have margins, those margins will not collapse with the margins on the floated image, as you can see in Figure 10-3:
pimg{float:left;margin:25px;}
If you do float a nonreplaced element, you must declare a width for that
element. Otherwise, according to the CSS specification, the element’s
width will tend toward zero. Thus, a floated paragraph could literally
be one character wide, assuming one character is the browser’s minimum
value for width. If you fail to declare a width value for your
floated elements, you could end up with something like Figure 10-4. (It’s
unlikely, granted, but still possible.)
There is one other value for float besides left and right.
float: none is used to prevent an element from floating at all.
This might seem a little silly, since the easiest way to keep an element
from floating is to avoid declaring a float, right? Well, first
of all, the default value of float is none. In other words, the value
has to exist in order for normal, nonfloating behavior to be possible;
without it, all elements would float in one way or another.
Second, you might want to override a certain style from an imported
stylesheet. Imagine that you’re using a server-wide stylesheet that
floats images. On one particular page, you don’t want those images to
float. Rather than writing a whole new stylesheet, you could place img {float: none;} in your document’s embedded stylesheet.
Beyond this type of circumstance, though, there really isn’t much call
to actually use float: none.
Before we start digging into details of floating, it’s important to establish the concept of a containing block. A floated element’s containing block is the nearest block-level ancestor element. Therefore, in the following markup, the floated element’s containing block is the paragraph element that contains it:
<h1>Test</h1><p>This is paragraph text, but you knew that. Within the content of this paragraph is an image that's been floated.<imgsrc="testy.gif"style="float: right;">The containing block for the floated image is the paragraph.</p>
We’ll return to the concept of containing blocks when we discuss positioning in Chapter 11.
Furthermore, a floated element generates a block box, regardless of the
kind of element it is. Thus, if you float a link, even though the
element is inline and would ordinarily generate an inline box, it
generates a block box when floated. It will be laid out and act as if it
was, for example, a div. This is not unlike declaring display: block for
the floated element, although it is not necessary to do so.
A series of specific rules govern the placement of a floated element, so let’s cover those before digging into applied behavior. These rules are vaguely similar to those that govern the evaluation of margins and widths and have the same initial appearance of common sense. They are as follows:
The left (or right) outer edge of a floated element may not be to the left (or right) of the inner edge of its containing block.
This is straightforward enough. The outer-left edge of a left-floated element can only go as far left as the inner-left edge of its containing block. Similarly, the furthest right a right-floated element may go is its containing block’s inner-right edge, as shown in Figure 10-5. (In this and subsequent figures, the circled numbers show the position where the markup element actually appears in relation to the source, and the numbered boxes show the position and size of the floated visible element.)
The left, outer edge of a floated element must be to the right of the right, outer edge of a left-floating element that occurs earlier in the document source, unless the top of the later element is below the bottom of the earlier element. Similarly, the right, outer edge of a floated element must be to the left of the left, outer edge of a right-floating element that comes earlier in the document source, unless the top of the later element is below the bottom of the earlier element.
This rule prevents floated elements from “overwriting” each other. If an element is floated to the left, and another floated element is already there, the latter element will be placed against the outer-right edge of the previously floated element. If, however, a floated element’s top is below the bottom of all earlier floated images, then it can float all the way to the inner-left edge of the parent. Some examples of this are shown in Figure 10-6.
The advantage of this rule is that all your floated content will be visible, since you don’t have to worry about one floated element obscuring another. This makes floating a fairly safe thing to do. The situation is markedly different when using positioning, where it is very easy to cause elements to overwrite one another.
The right, outer edge of a left-floating element may not be to the right of the left, outer edge of any right-floating element to its right. The left, outer edge of a right-floating element may not be to the left of the right, outer edge of any left-floating element to its left.
This rule prevents floated elements from overlapping each other. Let’s say you have a body that is 500 pixels wide, and its sole content is two images that are 300 pixels wide. The first is floated to the left, and the second is floated to the right. This rule prevents the second image from overlapping the first by 100 pixels. Instead, it is forced down until its top is below the bottom of the right-floating image, as depicted in Figure 10-7.
A floating element’s top may not be higher than the inner top of its parent. If a floating element is between two collapsing margins, then the floated element is placed as though it had a block-level parent element between the two elements.
The first part of this rule keeps floating elements
from floating all the way to the top of the document. The correct
behavior is illustrated in Figure 10-8. The second part of this rule
fine-tunes the alignment in some situations—for example, when the middle of
three paragraphs is floated. In that case, the floated paragraph is
floated as if it had a block-level parent element (say, a div). This
prevents the floated paragraph from moving up to the top of whatever
common parent the three paragraphs share.
A floating element’s top may not be higher than the top of any earlier floating or block-level element.
Similarly to rule 4, rule 5 keeps floated elements from floating all the way to the top of their parent elements. It is also impossible for a floated element’s top to be any higher than the top of a floated element that occurs earlier. Figure 10-9 is an example of this: since the second float was forced to be below the first one, the third float’s top is even with the top of the second float, not the first.
A floating element’s top may not be higher than the top of any line box that contains a box generated by an element that comes earlier in the document source.
Similarly to rules 4 and 5, this rule further limits the upward floating of an element by preventing it from being above the top of a line box containing content that precedes the floated element. Let’s say that, right in the middle of a paragraph, there is a floated image. The highest the top of that image may be placed is the top of the line box from which the image originates. As you can see in Figure 10-10, this keeps images from floating too far upward.
A left-floating element that has another floating element to its left may not have its right outer edge to the right of its containing block’s right edge. Similarly, a right-floating element that has another floating element to its right may not have its right outer edge to the left of its containing block’s left edge.
In other words, a floating element cannot stick out beyond the edge of its containing element, unless it’s too wide to fit on its own. This prevents a situation where a succeeding number of floated elements could appear in a horizontal line and far exceed the edges of the containing block. Instead, a float that would otherwise stick out of its containing block by appearing next to another one will be floated down to a point below any previous floats, as illustrated by Figure 10-11 (in the figure, the floats start on the next line in order to more clearly illustrate the principle at work here).
A floating element must be placed as high as possible.
Rule 8 is, as you might expect, subject to the restrictions introduced by the previous seven rules. Historically, browsers aligned the top of a floated element with the top of the line box after the one in which the image’s tag appears. Rule 8, however, implies that its top should be even with the top of the same line box as that in which its tag appears, assuming there is enough room. The theoretically correct behaviors are shown in Figure 10-12.
A left-floating element must be put as far to the left as possible, and a right-floating element as far to the right as possible. A higher position is preferred to one that is further to the right or left.
Again, this rule is subject to restrictions introduced in the preceding rules. As you can see in Figure 10-13, it is pretty easy to tell when an element has gone as far as possible to the right or left.
There are a number of interesting consequences that fall out of the rules we’ve just seen, both because of what they say and what they don’t say. The first thing to discuss is what happens when the floated element is taller than its parent element.
This happens quite often, as a matter of fact. Take the example of a
short document, composed of no more than a few paragraphs and h3
elements, where the first paragraph contains a floated image. Further,
this floated image has a margin of 5 pixels (5px). You would expect
the document to be rendered as shown in Figure 10-14.
Nothing there is unusual, but Figure 10-15 shows what happens when you set the first paragraph to have a background.
There is nothing different about the second example, except for the visible background. As you can see, the floated image sticks out of the bottom of its parent element. It also did so in the first example, but it was less obvious there because you couldn’t see the background. The floating rules we discussed earlier address only the left, right, and top edges of floats and their parents. The deliberate omission of bottom edges requires the behavior in Figure 10-15.
CSS 2.1 clarified one aspect of floated-element behavior, which is that a floated element will expand to contain any floated descendants. (Previous versions of CSS were unclear about what should happen.) Thus, you could contain a float within its parent element by floating the parent, as in this example:
<divstyle="float: left; width: 100%;"><imgsrc="hay.gif"style="float: left;">The 'div' will stretch around the floated image because the 'div' has been floated.</div>
On a related note, consider backgrounds and their relationship to floated elements that occur earlier in the document, which is illustrated in Figure 10-16.
Because the floated element is both within and outside of the flow, this sort of thing is bound to happen. What’s going on? The content of the heading is being “displaced” by the floated element. However, the heading’s element width is still as wide as its parent element. Therefore, its content area spans the width of the parent, and so does the background. The actual content doesn’t flow all the way across its own content area so that it can avoid being obscured behind the floating element.
Interestingly, negative margins can cause floated elements to move outside of their parent elements. This seems to be in direct contradiction to the rules explained earlier, but it isn’t. In the same way that elements can appear to be wider than their parents through negative margins, floated elements can appear to protrude out of their parents.
Let’s consider an image that is floated to the left, and that has
left and top margins of -15px. This image is placed inside a div that
has no padding, borders, or margins. The result is shown in Figure 10-17.
Contrary to appearances, this does not violate the restrictions on floated elements being placed outside their parent elements.
Here’s the technicality that permits this behavior: a close reading of the rules in the previous section will show that the outer edges of a floating element must be within the element’s parent. However, negative margins can place the floated element’s content such that it effectively overlaps its own outer edge, as detailed in Figure 10-18.
The math situation works out something like this: assume the top, inner
edge of the div is at the pixel position 100. The browser, in order to
figure out where the top, inner edge of the floated element should be,
will do this: 100px + (-15px) margin + 0 padding = 85px. Thus, the top,
inner edge of the floated element should be at pixel position 85; even
though this is higher than the top, inner edge of the float’s parent
element, the math works out such that the specification isn’t violated.
A similar line of reasoning explains how the left, inner edge of the
floated element can be placed to the left of the left, inner edge of its
parent.
Many of you may have an overwhelming desire to cry “Foul!” right about now. Personally, I don’t blame you. It seems completely wrong to allow the top, inner edge to be higher than the top, outer edge, for example; but with a negative top margin, that’s exactly what you get—just as negative margins on normal, nonfloated elements can make them visually wider than their parents. The same is true on all four sides of a floated element’s box: set the margins to be negative, and the content will overrun the outer edge without technically violating the specification.
There is one important question here: what happens to the document display when an element is floated out of its parent element by using negative margins? For example, an image could be floated so far up that it intrudes into a paragraph that has already been displayed by the user agent. In such a case, it’s up to the user agent to decide whether the document should be reflowed.
The CSS specification explicitly states that user agents are not required to reflow previous content to accommodate things that happen later in the document. In other words, if an image is floated up into a previous paragraph, it may overwrite whatever was already there. On the other hand, the user agent may handle the situation by flowing content around the float. Either way, it’s probably a bad idea to count on a particular behavior, which makes the utility of negative margins on floats somewhat limited. Hanging floats are probably fairly safe, but trying to push an element upward on the page is generally a bad idea.
There is one other way for a floated element to exceed its parent’s inner left and right edges, and that’s when the floated element is wider than its parent. In that case, the floated element will overflow the right or left inner edge—depending on which way the element is floated—in its best attempt to display itself correctly. This will lead to a result like that shown in Figure 10-19.
An even more interesting question is this: what happens when a float overlaps content in the normal flow? This can happen if, for example, a float has a negative margin on the side where content is flowing past (e.g., a negative left margin on a right-floating element). You’ve already seen what happens to the borders and backgrounds of block-level elements. What about inline elements?
CSS1 and CSS2 were not completely clear about the expected behavior in such cases. CSS 2.1 clarified the subject with explicit rules. These state that:
An inline box that overlaps with a float has its borders, background, and content all rendered “on top” of the float.
A block box that overlaps with a float has its borders and background rendered “behind” the float, whereas its content is rendered “on top” of the float.
To illustrate these rules, consider the following situation:
<imgsrc="testy.gif"class="sideline"><pclass="box">This paragraph, unremarkable in most ways, does contain an inline element. This inline contains some<strong>strongly emphasized text, which is so marked to make an important point</strong>. The rest of the element's content is normal anonymous inline content.</p><p>This is a second paragraph. There's nothing remarkable about it, really. Please move along to the next bit.</p><h2id="jump-up">A Heading!</h2>
To that markup, apply the following styles, with the result seen in Figure 10-20:
.sideline{float:left;margin:10px-15px10px10px;}p.box{border:1pxsolidgray;background:hsl(117,50%,80%);padding:0.5em;}p.boxstrong{border:3pxdouble;background:hsl(215,100%,80%);padding:2px;}h2#jump-up{margin-top:-25px;background:hsl(42,70%,70%);}
The inline element (strong) completely overlaps the floated image—background, border, content, and all. The block elements, on the other hand, have only their content appear on top of the float. Their backgrounds and borders are placed behind the float.
The described overlapping behavior is independent of the document source order. It does not matter if an element comes before or after a float: the same behaviors still apply.
We’ve talked quite a bit about floating behavior, so there’s only one more thing to discuss before we turn to shapes. You won’t always want your content to flow past a floated element—in some cases, you’ll specifically want to prevent it. If you have a document that is grouped into sections, you might not want the floated elements from one section hanging down into the next. In that case, you’d want to set the first element of each section to prohibit floating elements from appearing next to it. If the first element might otherwise be placed next to a floated element, it will be pushed down until it appears below the floated image, and all subsequent content will appear after that, as shown in Figure 10-21.
This is done with clear.
For example, to make sure all h3 elements are not placed to the right
of left-floating elements, you would declare h3 {clear: left;}. This
can be translated as “make sure that the left side of an h3 is clear
of floating images,” and has an effect very similar to the HTML
construct <br clear="left">`. (Ironically, browsers’ default behavior
is to have br elements generate inline boxes, so clear doesn’t apply
to them unless you change their display!) The following rule uses clear
to prevent h3 elements from flowing past floated elements to the left
side:
h3{clear:left;}
While this will push the h3 past any left-floating elements, it will
allow floated elements to appear on the right side of h3 elements, as
shown in Figure 10-22.
In order to avoid this sort of thing, and to make sure that h3
elements do not coexist on a line with any floated elements, you use the
value both:
h3{clear:both;}
Understandably enough, this value prevents coexistence with floated elements on both sides of the cleared element, as demonstrated in Figure 10-23.
If, on the other hand, we were only worried about h3 elements being
pushed down past floated elements to their right, then you’d use
h3 {clear: right;}.
Finally, there’s clear: none, which allows elements to float to either
side of an element. As with float: none, this value mostly exists to
allow for normal document behavior, in which elements will permit
floated elements to both sides. none can be used to override other
styles, as shown in Figure 10-24. Despite the document-wide rule
that h3 elements will not permit floated elements to either side, one
h3 in particular has been set so that it does permit floated elements
on either side:
h3{clear:both;}<h3style="clear: none;">What'sWithAllTheLatin?</h3>
In CSS1 and CSS2, clear worked by increasing the top margin of an
element so that it ended up below a floated element, so any margin width
set for the top of a cleared element was effectively ignored. That is,
instead of being 1.5em, for example, it would be increased to 10em, or
25px, or 7.133in, or however much was needed to move the element down
far enough so that the content area is below the bottom edge of a
floated element.
In CSS 2.1, clearance was introduced. Clearance is extra spacing added above an element’s top margin in order to push it past any floated elements. This means that the top margin of a cleared element does not change when an element is cleared. Its downward movement is caused by the clearance instead. Pay close attention to the placement of the heading’s border in Figure 10-25, which results from the following:
img.sider{float:left;margin:0;}h3{border:1pxsolidgray;clear:left;margin-top:15px;}<imgsrc="chrome.jpg"class="sider"height="50"width="50"><imgsrc="stripe.gif"height="10"width="100"><h3>WhyDoubtSalmon?</h3>
There is no separation between the top border of the h3 and the bottom
border of the floated image because 25 pixels of clearance were added
above the 15-pixel top margin in order to push the h3’s top border
edge just past the bottom edge of the float. This will be the case
unless the h3’s top margin calculates to 40 pixels or more, in which
case the h3 will naturally place itself below the float, and the clear
value will be irrelevant.
In most cases, you can’t know how far an element needs to be cleared. The way to make sure a cleared element has some space between its top and the bottom of a float is to put a bottom margin on the float itself. Therefore, if you want there to be at least 15 pixels of space below the float in the previous example, you would change the CSS like this:
img.sider{float:left;margin:0015px;}h3{border:1pxsolidgray;clear:left;}
The floated element’s bottom margin increases the size of the float box, and thus the point past which cleared elements must be pushed. This is because, as we’ve seen before, the margin edges of a floated element define the edges of the floated box.
Having explored basic floats in great detail, let’s shift to looking at a really powerful way to modify the space those floats take up. The CSS Shapes module, a recent addition to the specification, describes a small set of properties that allow you to reshape the float box in nonrectangular ways. Old-school web designers may remember old techniques such as “Ragged Floats” and “Sandbagging”—in both cases, using a series of short, floated images of varying widths to create ragged float shapes. Thanks to CSS Shapes, these tricks are no longer needed.
In the future, Shapes may be available for nonfloated elements, but as of late 2017, they’re only allowed on floated elements.
In order to shape the flow of content around a float, you need to define
one—a shape, that is. The property shape-outside is how you do so.
With none, there’s no shaping except the margin box of the
float itself—same as it ever was. That’s straightforward and boring.
Time for the good stuff.
Let’s start with using an image to define the float shape, as it’s both the simplest and (in many ways) the most exciting. Say we have an image of a crescent moon, and we want the content to flow around the visible parts of it. If that image has transparent parts, as in a GIF87a or a PNG, then the content will flow into those transparent parts, as shown in Figure 10-26:
img.lunar{float:left;shape-outside:url(moon.png);}<imgclass="lunar"src="moon.png">
We’ll talk in the following sections about how to push the content away from the visible parts of the image, and how to vary the transparency threshold that determines the shape; but for now, let’s just savor the power this affords us.
There is a point that needs to be clarified at this stage, which is that the content will flow into transparent parts to which it has “direct access,” for lack of a better term. That is, the content doesn’t flow to both the left and right of the image in Figure 10-26, but just the right side. That’s the side that faces the content, it being a left-floated image. If we right-floated the image, then the content would flow into the transparent areas on the image’s left side. This is illustrated in Figure 10-27 (with the text right-aligned to make the effect more obvious):
p{text-align:right;}img.lunar{float:right;shape-outside:url(moon.png);}
Always remember that the image has to have actual areas of transparency
to create a shape. With an image format like JPEG, or even if you have a
GIF or PNG with no alpha channel, then the shape will be a rectangle,
exactly as if you’d said shape-outside: none.
Now let’s turn to the <basic-shape> and <shape-box> values. A basic shape is one of the following types:
inset()
circle()
ellipse()
polygon()
In addition, the <shape-box> can be one of these types:
margin-box
border-box
padding-box
content-box
These shape boxes indicate the outermost limits of the shape. You can use them on their own, as illustrated in Figure 10-28.
The default is the margin box, which makes sense, since that’s what
float boxes use when they aren’t being shaped. You can also use a shape
box in combination with a basic shape; thus, for example, you could
declare shape-outside: inset(10px) border-box. The syntax for each of
the basic shapes is different, so we’ll take them in turn.
If you’re used to working with border images, or even the old clip property,
inset shapes should seem familiar. Even if you aren’t, the syntax
isn’t too complicated. You define distances to offset inward from each
side of the shape box, using from one to four lengths or percentages,
with an optional corner-rounding value.
To pick a simple case, suppose we just want to shrink the shape 2.5em
inside the shape box:
shape-outside:inset(2.5em);
Four offsets are created, each 2.5 em inward from the outside edge of the shape box. In this case, the shape box is the margin box, since we haven’t altered it. If we wanted the shape to shrink from, say, the padding box, then the value would change like so:
shape-outside:inset(2.5em)padding-box;
See Figure 10-29 for illustrations of the two inset shapes we just defined.
As with margins, padding, borders, and so on, value replication is in force: if there are fewer than four lengths or percentages, then the missing values are derived from the given values. They go in top-right-bottom-left (TRouBLe) order, and thus the following pairs are internally equivalent:
shape-outside:inset(23%);shape-outside:inset(23%23%23%23%);/* same as previous */shape-outside:inset(1em13%);shape-outside:inset(1em13%1em13%);/* same as previous */shape-outside:inset(10px0.5em15px);shape-outside:inset(10px0.5em15px0.5em);/* same as previous */
An interesting addition to inset shapes is the ability to round the
corners of the shape once the inset has been calculated. The syntax (and
effects) are identical to the border-radius property. Thus, if you
wanted to round the corners of the float shape with a 5-pixel round,
you’d write something like:
shape-outside:inset(7%)round5px;
On the other hand, if you want each corner to be rounded elliptically, so that the elliptical curving is 5 pixels tall and half an em wide, you’d write it like this:
shape-outside:inset(7%round0.5em/5px);
Setting a different rounding radius in each corner is also simple, and follows the usual replication pattern, except it starts from the top left instead of the top. So if you have more than one value, they’re in the order TL-TR-BR-BL (TiLTeR-BuRBLe), and are filled in by copying declared values in for the missing values. You can see a few examples of this in Figure 10-30. (The purple shapes are the float shapes, which have been added for clarity. Browsers do not actually draw the float shapes on the page.)
Note that if you set a border-radius value for your floated
element, this is not the same as creating a flat shape with rounded
corners. Remember that shape-outside defaults to none, so the
floated element’s box won’t be affected by the rounding of borders. If
you want to have text flow closely past the border rounding you’ve
defined with border-radius, you’ll need to supply identical rounding
values to shape-outside.
Circular and elliptical float shapes use very similar syntax, which makes sense. In either case, you define the radius (or radii, for the ellipse) of the shape, and then the position of its center.
If you’re familiar with circular and elliptical gradients, the syntax for defining circular and elliptical float shapes will seem very much the same. There are some important caveats, however, as this section will explore.
Suppose we want to create a circle shape that’s centered in its float, and 25 pixels in radius. We can accomplish that in any of the following ways:
shape-outside:circle(25px);shape-outside:circle(25pxatcenter);shape-outside:circle(25pxat50%50%);
Regardless of which we use, the result will be that shown in Figure 10-31.
Something to watch out for is that shapes cannot exceed their shape box, even if you set up a condition where that seems possible. For example, suppose we applied the previous 25-pixel-radius rule to a small image, one that’s no more than 30 pixels on a side. In that case, you’ll have a circle 50 pixels in diameter centered on a rectangle that’s smaller than the circle. What happens? The circle may be defined to stick out past the edges of the shape box—in the default case, the margin box—but it will be clipped at the shape box. Thus, given the following rules, the content will flow past the image as if it had no shape, as shown in Figure 10-32:
img{shape-outside:circle(25pxatcenter);}img#small{height:30px;width:35px;}
We can see the circle extending past the edges of the image in Figure 10-32, but notice how the text flows along the edge of the image, not the float shape. Again, that’s because the actual float shape is clipped by the shape box; in Figure 10-32, that’s the margin box, which is at the outer edge of the image. So the actual float shape isn’t a circle, but a box the exact dimensions of the image.
The same holds true no matter what edge you define to be the shape box.
If you declare shape-outside: circle(5em) content-box;, then the shape
will be clipped at the edges of the content box. Content will be able to
flow over the padding, borders, and margins, and will not be pushed away
in a circular fashion.
This means you can do things like create a float shape that’s the lower-right quadrant of a circle in the upper-left corner of the float, like so:
shape-outside:circle(3emattopleft);
For that matter, if you have a perfectly square float, you can define a circle-quadrant that just touches the opposite sides, using a percentage radius:
shape-outside:circle(50%attopleft);
But note: that only works if the float is square. If it’s rectangular, oddities creep in. Take this example, which is illustrated in Figure 10-33:
img{shape-outside:circle(50%atcenter);}img#tall{height:150px;width:70px;}
Don’t bother trying to pick which dimension is controlling the 50%
calculation, because neither is. Or, in a sense, both are.
When you define a percentage for the radius of a circular float shape, it’s calculated with respect to a calculated reference box. The height and width of this box are calculated as follows:
In effect, this creates a square that’s a blending of the float’s intrinsic height and width. In the case of our floated image that’s 70 × 150 pixels, that works out to a square that’s 117.047 pixels on a side. Thus, the circle’s radius is 50% of that, or 58.5235 pixels.
Once again, note how the content in Figure 10-34 is flowing past the image and ignoring the circle. That’s because the actual float shape is clipped by the shape box, so the final float shape would be a kind of vertical bar with rounded ends, something very much like what’s shown in Figure 10-34.
It’s a lot simpler to position the center of the circle and have it grow until it touches either the closest side to the circle’s center, or the farthest side from the circle’s center. Both are easily possible, as shown here and illustrated in Figure 10-35:
shape-outside:circle(closest-side);shape-outside:circle(farthest-sideattopleft);shape-outside:circle(closest-sideat25%40px);shape-outside:circle(farthest-sideat25%50%);
In one of the examples in Figure 10-35, the shape was clipped to its shape box, whereas in the others, the shape was allowed to extend beyond it. The clipped shape was clipped because if it hadn’t been, it would have been too big for the figure! We’ll see this again in an upcoming figure.
Now, how about ellipses? Besides using the name ellipse(), the only
syntactical difference between circles and ellipses is that you define
two radii instead of one radius. The first is the x (horizontal) radius,
and the second is the y (vertical) radius. Thus, for an ellipse with an
x radius of 20 pixels and a y radius of 30 pixels, you’d declare
ellipse(20px 30px). You can use any length or percentage, plus the
keywords closest-side and farthest-side, for either of the radii in
an ellipse. A number of possibilities are shown in Figure 10-36.
As of late 2017, there were inconsistencies with Chrome’s handling of
farthest-side when applied to ellipses. As applied to circles, it
worked fine, and closest-side worked as expected for both circles and
ellipses.
With regards to percentages, things are a little different with ellipses than they are with circles. Instead of a calculated reference box, percentages in ellipses are calculated against the axis of the radius. Thus, horizontal percentages are calculated with respect to the width of the shape box, and vertical percentages with respect to the height. This is illustrated in Figure 10-37.
As with any basic shape, an elliptical shape is clipped at the edges of the shape box.
Polygons are a lot more complicated to write, though they’re probably a little bit easier to understand. You define a polygonal shape by specifying a comma-separated list of x-y coordinates, expressed as either lengths or percentages, calculated from the top left of the shape box. Each x-y pair is a vertex in the polygon. If the first and last vertices are not the same, the browser will close the polygon by connecting them. (All polygonal float shapes must be closed.)
So let’s say we want a diamond shape that’s 50 pixels tall and wide. If
we start from the top vertex, the polygon() value would look like this:
polygon(25px0,50px25px,25px50px,025px)
Percentages have the same behavior as they do in background-image positioning (for example), so we can define a diamond shape that always “fills out” the shape box, it would be written like so:
polygon(50%0,100%50%,50%100%,050%)
The result of this and the previous polygon example are shown in Figure 10-38.
Those examples started from the top because that’s the habit in CSS, but they didn’t have to. All of the following will yield the same result:
polygon(50%0,100%50%,50%100%,050%)/* clockwise from top */polygon(050%,50%0,100%50%,50%100%)/* clockwise from left */polygon(50%100%,050%,50%0,100%50%)/* clockwise from bottom */polygon(050%,50%100%,100%50%,50%0)/* anticlockwise from left */
As before, remember: a shape can never exceed the shape box, but is always clipped to it. So even if you create a polygon with coordinates that lie outside the shape box (by default, the margin box), the polygon will get clipped. This is demonstrated in Figure 10-39.
There’s an extra wrinkle to polygons, which is that you can toggle their
fill rule. By default, the fill rule is nonzero, but the other
possible value is evenodd. It’s easier to show the difference than to
describe it, so here’s a star polygon with two different fill rules,
illustrated in Figure 10-40:
polygon(nonzero,51%0%,83%100%,038%,100%38%,20%100%)polygon(evenodd,51%0%,83%100%,038%,100%38%,20%100%)
The nonzero case is what we tend to think of with filled polygons: a
single shape, completely filled. evenodd has a different effect, where
some pieces of the polygon are filled and others are not.
This particular example doesn’t show much difference, since the part of the polygon that’s missing is completely enclosed by filled parts, so the end result is the same either way. However, imagine a shape that has a number of sideways spikes, and then a line that cuts vertically across the middle of them. Rather than a comb shape, you’d end up with a set of discontinuous triangles. There are a lot of possibilities.
As of late 2017, the one browser that supports CSS Shapes,
Chrome, does not support fill styles. All polygons are treated as
nonzero.
As you can imagine, a polygon can become very complex, with a large number of vertices. You’re welcome to work out the coordinates of each vertex on paper and type them in, but it makes a lot more sense to use a tool to do this. A good example of such a tool is the Shapes Editor available for Chrome. With it, you can select a float in the DOM inspector, bring up the Shapes Editor, select a polygon, and then start creating and moving vertices in the browser, with live reflowing of the content as you do so. Then, once you’re satisfied, you can drag-select-copy the polygon value for pasting into your stylesheet. Figure 10-41 shows a screenshot of the Shapes Editor in action.
Due to Cross-Origin Resource Sharing (CORS) restrictions, shapes cannot be edited with the Shapes Editor unless they’re being loaded over HTTP(S) from the same origin server as the HTML and CSS. Loading local files from your HDD/SSD will prevent the shapes from being editable. The same restriction prevents shapes from being loaded off local storage via the url() mechanism.
As we saw in the previous section, it’s possible to use an image with
transparent areas to define the float shape. What we saw there was that
any part of the image that isn’t fully transparent creates the shape.
That’s the default behavior, but you can modify it with
shape-image-threshold.
This property lets you decide what level of transparency determines an
area where content can flow; or, conversely, what level of opacity
defines the float shape. Thus, with shape-image-threshold: 0.5, any
part of the image with more than 50% transparency can allow content to
flow into it, and any part of the image with less than 50% transparency
is part of the float shape. This is illustrated in Figure 10-42.
If you set the value of the shape-image-threshold property to 1.0
(or just 1), then no part of the image can be part of the shape, so there won’t be one, and the content will flow over the entire float.
On the other hand, a value of 0.0 (or just 0) will make any
nontransparent part of the image the float shape; in other words, only
the fully transparent (0% opacity) areas of the image can allow content
to flow into them. Furthermore, any value below zero is reset to 0.0,
and any above one is reset to 1.0.
Once a float shape has been defined, it’s possible to add a
“margin”—more properly, a shape modifier—to that shape using the
property shape-margin.
Much like a regular element margin, a shape margin pushes content away by either a length or a percentage; a percentage is calculated with respect to the width of the element’s containing block, just as are regular margins.
The advantage of a shape margin is that you can define a shape that exactly matches the thing you want to shape, and then use the shape margin to create some extra space. Take an image-based shape, where part of the image is visible and the rest is transparent. Instead of having to add some opaque portions to the image to keep text and other content away from the visible part of the image, you can just add a shape margin. This enlarges the shape by the distance supplied.
In detail, the new shape is found by drawing a line perpendicular from
each point along the basic shape, with a length equal to the value of
shape-margin, to find a point in the new shape. At sharp corners, a
circle is drawn centered on that point with a radius equal to the value
of shape-margin. After all that, the new shape is the smallest shape
that can describe all those points and circles (if any).
Remember, though, that a shape can never exceed the shape box. Thus, by
default, the shape can’t get any bigger than the margin box of the
un-shaped float. Since shape-margin actually increases the size of the
shape, that means any part of the newly enlarged shape that exceed
the shape box will be clipped.
To see what this means, consider the following, as illustrated in Figure 10-43:
img{float:left;margin:0;shape-outside:url(star.svg);border:1pxsolidhsla(0,100%,50%,0.25);}#one{shape-margin:0;}#two{shape-margin:1.5em;}#thr(shape-margin:10%;}
Notice the way the content flows past the second and third examples.
There are definitely places where the content gets closer than the
specified shape-margin, because the shape has been clipped at the
margin box. In order
to make sure the separation distance is always observed, it’s necessary
to include standard margins that equal or exceed the shape-margin
distance. For example, we could have avoided the problem by modifying
two of the rules like so:
#two{shape-margin:1.5em;margin:01.5em1.5em0;}#thr(shape-margin:10%;margin:010%10%0;}
In both cases, the right and bottom margins are set to be the same as
the shape-margin value, ensuring that the enlarged shape will never
exceed the shape box on those sides. This is demonstrated in Figure 10-44.
If you have a float go to the right, then you’ll have to adjust its margins to create space below and to the left, not the right, but the principle is the same.
Floats may be a fundamentally simple aspect of CSS, but that doesn’t keep them from being useful and powerful. They fill a vital and honorable niche, allowing the placement of content to one side while the rest of the content flows around it. And thanks to float shapes, we’re not limited to square float boxes any more.
The idea behind positioning is fairly simple. It allows you to define exactly where element boxes will appear relative to where they would ordinarily be—or position them in relation to a parent element, another element, or even to the viewport (e.g., the browser window) itself.
Before we delve into the various kinds of positioning, it’s a good idea to look at what types exist and how they differ. We’ll also need to define some basic ideas that are fundamental to understanding how positioning works.
You can choose one of five different types of positioning, which affect
how the element’s box is generated, by using the position property.
The values of position have the following meanings:
staticThe element’s box is generated as normal. Block-level elements generate a rectangular box that is part of the document’s flow, and inline-level boxes cause the creation of one or more line boxes that are flowed within their parent element.
relativeThe element’s box is offset by some distance. The element retains the shape it would have had were it not positioned, and the space that the element would ordinarily have occupied is preserved.
absoluteThe element’s box is completely removed from the flow of the document and positioned with respect to its containing block, which may be another element in the document or the initial containing block (described in the next section). Whatever space the element might have occupied in the normal document flow is closed up, as though the element did not exist. The positioned element generates a block-level box, regardless of the type of box it would have generated if it were in the normal flow.
fixed The element’s box behaves as though it was set to absolute, but its
containing block is the viewport itself.
stickyThe element is left in the normal flow, until the conditions that trigger its stickiness come to pass, at which point it is removed from the normal flow but its original space in the normal flow is preserved. It will then act as if absolutely positioned with respect to its containing block. Once the conditions to enforce stickiness are no longer met, the element is returned to the normal flow in its original space.
Don’t worry so much about the details right now, as we’ll look at each of these kinds of positioning later. Before we do that, we need to discuss containing blocks.
In general terms, a containing block is the box that contains another
element. As an example, in the normal-flow case, the root element
(html in HTML) is the containing block for the body element, which
is in turn the containing block for all its children, and so on. When it
comes to positioning, the containing block depends entirely on the type
of positioning.
For a non-root element whose position value is relative or static,
its containing block is formed by the content edge of the nearest
block-level, table-cell, or inline-block ancestor box.
For a non-root element that has a position value of absolute, its
containing block is set to the nearest ancestor (of any kind) that has a
position value other than static. This happens as follows:
If the ancestor is block-level, the containing block is set to be that element’s padding edge; in other words, the area that would be bounded by a border.
If the ancestor is inline-level, the containing block is set to the content edge of the ancestor. In left-to-right languages, the top and left of the containing block are the top and left content edges of the first box in the ancestor, and the bottom and right edges are the bottom and right content edges of the last box. In right-to-left languages, the right edge of the containing block corresponds to the right content edge of the first box, and the left is taken from the last box. The top and bottom are the same.
If there are no ancestors, then the element’s containing block is defined to be the initial containing block.
There’s an interesting variant to the containing-block rules when it comes to sticky-positioned elements, which is that a rectangle is defined in relation to the containing block called the sticky-constraint rectangle. This rectangle has everything to do with how sticky positioning works, and will be explained in full later, in “Sticky Positioning”.
An important point: positioned elements can be positioned outside of their containing block. This is very similar to the way in which floated elements can use negative margins to float outside of their parent’s content area. It also suggests that the term “containing block” should really be “positioning context,” but since the specification uses “containing block,” so will I. (I do try to minimize confusion. Really!)
Four of the positioning schemes described in the previous section—relative, absolute, sticky, and fixed—use four distinct properties to describe the offset of a positioned element’s sides with respect to its containing block. These four properties, which are referred to as the offset properties, are a big part of what makes positioning work.
These properties describe an offset from the nearest side of the
containing block (thus the term offset properties). For example, top
describes how far the top margin edge of the positioned element should
be placed from the top of its containing block. In the case of top,
positive values move the top margin edge of the positioned element
downward, while negative values move it above the top of its
containing block. Similarly, left describes how far to the right (for
positive values) or left (for negative values) the left margin edge of
the positioned element is from the left edge of the containing block.
Positive values will shift the margin edge of the positioned element to
the right, and negative values will move it to the left.
Another way to look at it is that positive values cause inward offsets, moving the edges toward the center of the containing block, and negative values cause outward offsets.
The implication of offsetting the margin edges of a positioned element is that everything about an element—margins, borders, padding, and content—is moved in the process of positioning the element. Thus, it is possible to set margins, borders, and padding for a positioned element; these will be preserved and kept with the positioned element, and they will be contained within the area defined by the offset properties.
It is important to remember that the offset properties define an offset
from the analogous side (e.g., left defines the offset from the left
side) of the containing block, not from the upper-left corner of the
containing block. This is why, for example, one way to fill up the
lower-right corner of a containing block is to use these values:
top:50%;bottom:0;left:50%;right:0;
In this example, the outer-left edge of the positioned element is placed halfway across the containing block. This is its offset from the left edge of the containing block. The outer-right edge of the positioned element, however, is not offset from the right edge of the containing block, so the two are coincident. Similar reasoning holds true for the top and bottom of the positioned element: the outer-top edge is placed halfway down the containing block, but the outer-bottom edge is not moved up from the bottom. This leads to what’s shown in Figure 11-1.
What’s depicted in Figure 11-1, and in most of the examples in this
chapter, is based around absolute positioning. Since absolute
positioning is the simplest scheme in which to demonstrate how top,
right, bottom, and left work, we’ll stick to that for now.
Note the background area of the positioned element. In Figure 11-1, it has
no margins, but if it did, they would create blank space between the
borders and the offset edges. This would make the positioned element
appear as though it did not completely fill the lower-right quarter of
the containing block. In truth, it would fill the area, but this fact
wouldn’t be immediately apparent to the eye. Thus, the following two
sets of styles would have approximately the same visual appearance,
assuming that the containing block is 100em high by 100em wide:
#ex1{top:50%;bottom:0;left:50%;right:0;margin:10em;}#ex2{top:60%;bottom:10%;left:60%;right:10%;margin:0;}
Again, the similarity would be only visual in nature.
By using negative offset values, it is possible to position an element outside its containing block. For example, the following values will lead to the result shown in Figure 11-2:
top:50%;bottom:-2em;left:75%;right:-7em;
In addition to length and percentage values, the offset properties can
also be set to auto, which is the default value. There is no single
behavior for auto; it changes based on the type of positioning used.
We’ll explore how auto works later on, as we consider each of the
positioning types in turn.
There will be many cases when, having determined where you’re going to position an element, you will want to declare how wide and how high that element should be. In addition, there will likely be conditions where you’ll want to limit how high or wide a positioned element gets, not to mention cases where you want the browser to go ahead and automatically calculate the width, height, or both.
If you want to give your positioned element a specific width, then the property to turn to is width. Similarly, height will let you
declare a specific height for a positioned element.
Although it is sometimes important to set the width and height of an
element, it is not always necessary when positioning elements. For
example, if the placement of the four sides of the element is described
using top, right, bottom, and left, then the height and
width of the element are implicitly determined by the offsets. Assume
that we want an absolutely positioned element to fill the left half of
its containing block, from top to bottom. We could use these values,
with the result depicted in Figure 11-3:
top:0;bottom:0;left:0;right:50%;
Since the default value of both width and height is auto, the
result shown in Figure 11-3 is exactly the same as if we had used these
values:
top:0;bottom:0;left:0;right:50%;width:50%;height:100%;
The presence of width and height in this example add nothing to the
layout of the element.
If we were to add padding, a border, or a margin to the
element, then the presence of explicit values for height and width
could very well make a difference:
top:0;bottom:0;left:0;right:50%;width:50%;height:100%;padding:2em;
This will give us a positioned element that extends out of its containing block, as shown in Figure 11-4.
This happens because (by default) the padding is added to the content
area, and the content area’s size is determined by the values of
height and width. In order to get the padding we want and still have
the element fit inside its containing block, we would either remove the
height and width declarations, explicitly set them both to auto,
or set box-sizing to border-box.
Should it become necessary or desirable, you can place limits on an
element’s width by using the following properties, which I’ll refer to
as the min-max properties. An element’s content area can be defined to
have minimum dimensions using min-width and min-height.
Similarly, an element’s dimensions can be limited using the properties
max-width and max-height.
The names of these properties make them fairly self-explanatory. What’s less obvious at first, but makes sense once you think about it, is that values for all these properties cannot be negative.
The following styles will force the positioned element to be at least
10em wide by 20em tall, as illustrated in Figure 11-5:
top:10%;bottom:20%;left:50%;right:10%;min-width:10em;min-height:20em;
This isn’t a very robust solution since it forces the element to be at least a certain size regardless of the size of its containing block. Here’s a better one:
top:10%;bottom:auto;left:50%;right:10%;height:auto;min-width:15em;
Here we have a case where the element should be 40% as wide as the
containing block but can never be less than 15em wide. We’ve also
changed the bottom and height so that they’re automatically
determined. This will let the element be as tall as necessary to display
its content, no matter how narrow it gets (never less than 15em, of
course!).
We’ll look at the role auto plays in the height and width of
positioned elements in the upcoming section, “Placement and Sizing of Absolutely Positioned Elements”.
You can turn all this around to keep elements from getting too wide or
tall by using max-width and max-height. Let’s consider a situation
where, for some reason, we want an element to have three-quarters the
width of its containing block but to stop getting wider when it hits 400
pixels. The appropriate styles are:
left:0%;right:auto;width:75%;max-width:400px;
One great advantage of the min-max properties is that they let you mix units with relative safety. You can use percentage-based sizes while setting length-based limits, or vice versa.
It’s worth mentioning that these min-max properties can be very useful
in conjunction with floated elements. For example, we can allow
a floated element’s width to be relative to the width of its parent
element (which is its containing block), while making sure that the
float’s width never goes below 10em. The reverse approach is also
possible:
p.aside{float:left;width:40em;max-width:40%;}
This will set the float to be 40em wide, unless that would be more than
40% the width of the containing block, in which case the float will be
limited to that 40% width.
If the content of an element is too much for the element’s size, it will be in danger of overflowing the element itself. There are a few alternatives in such situations, and CSS lets you select among them. It also allows you to define a clipping region to determine the area of the element outside of which these sorts of things become an issue.
So let’s say that we have, for whatever reason, an element that has been
pinned to a specific size, and the content doesn’t fit. You can take
control of the situation with the overflow property.
The default value of visible means that the element’s content may be
visible outside the element’s box. Typically, this leads to the content
running outside its own element box, but not altering the shape of
that box. The following markup would result in Figure 11-6:
div#sidebar{position:absolute;top:0;left:0;width:25%;height:7em;background:#BBB;overflow:visible;}
If overflow is set to scroll, the element’s content is clipped—that
is, hidden—at the edges of the element box, but there is some
way to make the extra content available to the user. In a web browser,
this could mean a scroll bar (or set of them), or another method of
accessing the content without altering the shape of the element itself.
One possibility is depicted in Figure 11-6.
If scroll is used, the panning mechanisms (e.g., scroll bars) should
always be rendered. To quote the specification, “this avoids any problem
with scrollbars appearing or disappearing in a dynamic environment.”
Thus, even if the element has sufficient space to display all its
content, the scroll bars may still appear and take up space (though they may not).
In addition, when printing
a page or otherwise displaying the document in a print medium, the
content may be displayed as though the value of overflow were declared
to be visible.
If overflow is set to hidden, the element’s content is clipped at
the edges of the element box, but no scrolling interface should be
provided to make the content outside the clipping region accessible to
the user. In such an instance, the clipped content would not be accessible to the user.
Figure 11-6 illustrates each of these three overflow values.
Finally, there is overflow: auto. This allows user agents to determine
which behavior to use, although they are encouraged to provide a
scrolling mechanism when necessary. This is a potentially useful way to
use overflow, since user agents could interpret it to mean “provide
scroll bars only when needed.” (They may not, but they certainly could
and probably should.)
In addition to all the clipping and overflowing, you can also control the visibility of an entire element.
This one is pretty easy. If an element is set to have
visibility: visible, then it is, as you might expect, visible. If an element is set to visibility: hidden, it is made “invisible” (to
use the wording in the specification). In its invisible state, the
element still affects the document’s layout as though it were visible.
In other words, the element is still there—you just can’t see it, pretty
much as if you’d declared opacity: 0.
Note the difference between this and display: none. In the latter
case, the element is not displayed and is removed from the document
altogether so that it doesn’t have any effect on document layout.
Figure 11-7 shows a document in which a paragraph has been set to hidden,
based on the following styles and markup:
em.trans{visibility:hidden;border:3pxsolidgray;background:silver;margin:2em;padding:1em;}
<p>This is a paragraph which should be visible. Nulla berea consuetudium ohio city, mutationem dolore.<emclass="trans">Humanitatis molly shannon ut lorem.</em>Doug dieken dolor possim south euclid.</p>
Everything visible about a hidden element—such as content, background, and borders—is made invisible. The space is still there because the element is still part of the document’s layout. We just can’t see it.
It’s possible to set the descendant element of a hidden element to be
visible. This causes the element to appear wherever it normally would,
despite the fact that the ancestor is invisible. In order to do so, we
explicitly declare the descendant element visible, since visibility
is inherited:
p.clear{visibility:hidden;}p.clearem{visibility:visible;}
As for visbility: collapse, this value is used in CSS table rendering,
which we don’t really have room to cover here. According to the
specification, collapse has the same meaning as hidden if it is used
on nontable elements.
Since most of the examples and figures in the previous sections are examples of absolute positioning, you’re already halfway to understanding how it works. Most of what remains are the details of what happens when absolute positioning is invoked.
When an element is positioned absolutely, it is completely removed from
the document flow. It is then positioned with respect to its containing
block, and its margin edges are placed using the offset properties
(top, left, etc.). The positioned element does not flow around the
content of other elements, nor does their content flow around the
positioned element. This implies that an absolutely positioned element
may overlap other elements or be overlapped by them. (We’ll see how to
affect the overlapping order later.)
The containing block for an absolutely positioned element is the nearest
ancestor element that has a position value other than static. It is
common for an author to pick an element that will serve as the
containing block for the absolutely positioned element and give it a
position of relative with no offsets, like so:
.contain{position:relative;}
Consider the example in Figure 11-8, which is an illustration of the following:
p{margin:2em;}p.contain{position:relative;}/* establish a containing block*/b{position:absolute;top:auto;right:0;bottom:0;left:auto;width:8em;height:5em;border:1pxsolidgray;}
<body><p>This paragraph does<em>not</em>establish a containing block for any of its descendant elements that are absolutely positioned. Therefore, the absolutely positioned<b>boldface</b>element it contains will be positioned with respect to the initial containing block.</p><pclass="contain">Thanks to<code>position: relative</code>, this paragraph establishes a containing block for any of its descendant elements that are absolutely positioned. Since there is such an element--<em>that is to say,<b>a boldfaced element that is absolutely positioned,</b>placed with respect to its containing block (the paragraph)</em>, it will appear within the element box generated by the paragraph.</p></body>
The b elements in both paragraphs have been absolutely positioned. The
difference is in the containing block used for each one. The b element
in the first paragraph is positioned with respect to the initial
containing block, because all of its ancestor elements have a position
of static. The second paragraph has been set to
position: relative, so it establishes a containing block for its
descendants.
You’ve probably noted that in that second paragraph, the positioned
element overlaps some of the text content of the paragraph. There is no
way to avoid this, short of positioning the b element outside of the
paragraph (by using a negative value for right or one of the other
offset properties) or by specifying a padding for the paragraph that is
wide enough to accommodate the positioned element. Also, since the b
element has a transparent background, the paragraph’s text shows through
the positioned element. The only way to avoid this is to set a
background for the positioned element, or else move it out of the
paragraph entirely.
You will sometimes want to ensure that the body element establishes a
containing block for all its descendants, rather than allowing the user
agent to pick an initial containing block. This is as simple as
declaring:
body{position:relative;}
In such a document, you could drop in an absolutely positioned paragraph, as follows, and get a result like that shown in Figure 11-9:
<pstyle="position: absolute; top: 0; right: 25%; left: 25%; bottom:auto; width: 50%; height: auto; background: silver;">...</p>
The paragraph is now positioned at the very beginning of the document, half as wide as the document’s width and overwriting other content.
An important point to highlight is that when an element is absolutely positioned, it establishes a containing block for its descendant elements. For example, we can absolutely position an element and then absolutely position one of its children, as shown in Figure 11-10, which was generated using the following styles and basic markup:
div{position:relative;width:100%;height:10em;border:1pxsolid;background:#EEE;}div.a{position:absolute;top:0;right:0;width:15em;height:100%;margin-left:auto;background:#CCC;}div.b{position:absolute;bottom:0;left:0;width:10em;height:50%;margin-top:auto;background:#AAA;}<div><divclass="a">absolutelypositionedelementA<divclass="b">absolutelypositionedelementB</div></div>containingblock</div>
Remember that if the document is scrolled, the absolutely positioned elements will scroll right along with it. This is true of all absolutely positioned elements that are not descendants of fixed-position or sticky-position elements.
This happens because, eventually, the elements are positioned in relation to something that’s part of the normal flow. For example, if you absolutely position a table, and its containing block is the initial containing block, then it will scroll because the initial containing block is part of the normal flow, and thus it scrolls.
If you want to position elements so that they’re placed relative to the viewport and don’t scroll along with the rest of the document, keep reading. The upcoming section on fixed positioning has the answers you seek.
It may seem odd to combine the concepts of placement and sizing, but it’s a necessity with absolutely positioned elements because the specification binds them very closely together. This is not such a strange pairing upon reflection. Consider what happens if an element is positioned using all four offset properties, like so:
#mastheadh1{position:absolute;top:1em;left:1em;right:25%;bottom:10px;margin:0;padding:0;background:silver;}
Here, the height and width of the h1’s element box is determined by
the placement of its outer margin edges, as shown in Figure 11-11.
If the containing block were made taller, then the h1 would also
become taller; if the containing block is narrowed, then the h1 will
become narrower. If we were to add margins or padding to the h1, then
that would have further effects on the calculated height and width of
the h1.
But what if we do all that and then also try to set an explicit height and width?
#mastheadh1{position:absolute;top:0;left:1em;right:10%;bottom:0;margin:0;padding:0;height:1em;width:50%;background:silver;}
Something has to give, because it’s incredibly unlikely that all those
values will be accurate. In fact, the containing block would have to be
exactly two and a half times as wide as the h1’s computed value for
font-size for all of the shown values to be accurate. Any other
width would mean at least one value is wrong and has to be ignored.
Figuring out which one depends on a number of factors, and the factors
change depending on whether an element is replaced or nonreplaced.
For that matter, consider the following:
#mastheadh1{position:absolute;top:auto;left:auto;}
What should the result be? As it happens, the answer is not “reset the values to zero.” We’ll see the actual answer, starting in the next section.
When absolutely positioning an element, there is a special behavior that
applies when any of the offset properties other than bottom is set to
auto. Let’s take top as an example. Consider the following:
<p>When we consider the effect of positioning, it quickly becomes clear that authors can do a great deal of damage to layout, just as they can do very interesting things.<spanstyle="position: absolute; top: auto;left: 0;">[4]</span>This is usually the case with useful technologies: the sword always has at least two edges, both of them sharp.</p>
What should happen? For left, it’s easy: the left edge of the element
should be placed against the left edge of its containing block (which
we’ll assume here to be the initial containing block). For top,
however, something much more interesting happens. The top of the
positioned element should line up with the place where its top would
have been if it were not positioned at all. In other words, imagine
where the span would have been placed if its position value were
static; this is its static position—the place where its top edge
should be calculated to sit. CSS 2.1 had this to say about static
positions:
the term “static position” (of an element) refers, roughly, to the position an element would have had in the normal flow. More precisely: the static position for
topis the distance from the top edge of the containing block to the top margin edge of a hypothetical box that would have been the first box of the element if its specifiedpositionvalue had beenstaticand its specifiedfloathad beennoneand its specifiedclearhad beennone… The value is negative if the hypothetical box is above the containing block.
Therefore, we should get the result shown in Figure 11-12.
The “[4]” sits just outside the paragraph’s content because the initial containing block’s left edge is to the left of the paragraph’s left edge.
The same basic rules hold true for left and right being set to
auto. In those cases, the left (or right) edge of a positioned element
lines up with the spot where the edge would have been placed if the
element weren’t positioned. So let’s modify our previous example so that both top and left are set to auto:
<p>When we consider the effect of positioning, it quickly becomes clear that authors can do a great deal of damage to layout, just as they can do very interesting things.<spanstyle="position: absolute; top: auto; left:auto;">[4]</span>This is usually the case with useful technologies: the sword always has at least two edges, both of them sharp.</p>
This would have the result shown in Figure 11-13.
The “[4]” now sits right where it would have were it not positioned. Note that, since it is positioned, its normal-flow space is closed up. This causes the positioned element to overlap the normal-flow content.
This auto-placement works only in certain situations, generally wherever there are few constraints on the other dimensions of a positioned element. Our previous example could be auto-placed because it had no constraints on its height or width, nor on the placement of the bottom and right edges. But suppose, for some reason, there had been such constraints. Consider:
<p>When we consider the effect of positioning, it quickly becomes clear that authors can do a great deal of damage to layout, just as they can do very interesting things.<spanstyle="position: absolute; top: auto; left: auto;right: 0; bottom: 0; height: 2em; width: 5em;">[4]</span>This is usually the case with useful technologies: the sword always has at least two edges, both of them sharp.</p>
It is not possible to satisfy all of those values. Determining what happens is the subject of the next section.
In general, the size and placement of an element depends on its
containing block. The values of its various properties (width,
right, padding-left, and so on) affect its layout, but
the foundation is the containing block.
Consider the width and horizontal placement of a positioned element. It can be represented as an equation which states:
left + margin-left + border-left-width + padding-left + width + padding-right + border-right-width + margin-right + right = the width of the containing block
This calculation is fairly reasonable. It’s basically the equation that
determines how block-level elements in the normal flow are sized, except
it adds left and right to the mix. So how do all these interact?
There is a series of rules to work through.
First, if left, width, and right are all set to auto, then you
get the result seen in the previous section: the left edge is placed at
its static position, assuming a left-to-right language. In right-to-left
languages, the right edge is placed at its static position. The width of
the element is set to be “shrink to fit,” which means the element’s
content area is made only as wide as necessary to contain its content.
The nonstatic position property (right in left-to-right languages,
left in right-to-left) is set to take up the remaining distance. For
example:
<divstyle="position: relative; width: 25em; border: 1px dotted;">An absolutely positioned element can have its content<spanstyle="position:absolute; top: 0; left: 0; right: auto; width: auto; background:silver;">shrink-wrapped</span>thanks to the way positioning rules work.</div>
This has the result shown in Figure 11-14.
The top of the element is placed against the top of its containing block
(the div, in this case), and the width of the element is just as much
as is needed to contain the content. The remaining distance from the
right edge of the element to the right edge of the containing block
becomes the computed value of right.
Now suppose that only the left and right margins are set to auto, not
left, width, and right, as in this example:
<divstyle="position: relative; width: 25em; border: 1px dotted;">An absolutely positioned element can have its content<spanstyle="position:absolute; top: 0; left: 1em; right: 1em; width: 10em; margin: 0 auto;background: silver;">shrink-wrapped</span>thanks to the way positioning rules work.</div>
What happens here is that the left and right margins, which are both
auto, are set to be equal. This will effectively center the element,
as shown in Figure 11-15.
This is basically the same as auto-margin centering in the normal flow.
So let’s make the margins something other than auto:
<divstyle="position: relative; width: 25em; border: 1px dotted;">An absolutely positioned element can have its content<spanstyle="position:absolute; top: 0; left: 1em; right: 1em; width: 10em; margin-left: 1em;margin-right: 1em; background: silver;">shrink-wrapped</span>thanks to the way positioning rules work.</div>
Now we have a problem. The positioned span’s properties add up to only
14em, whereas the containing block is 25em wide. That’s an 11-em deficit
we have to make up somewhere.
The rules state that, in this case, the user agent ignores the value for
right (in left-to-right languages; otherwise, it ignores left) and
solves for it. In other words, the result will be the same as if we’d
declared:
<spanstyle="position: absolute; top: 0; left: 1em;right: 12em; width: 10em; margin-left: 1em; margin-right: 1em;right: auto; background: silver;">shrink-wrapped</span>
This has the result shown in Figure 11-16.
If one of the margins had been left as auto, then that would have been
changed instead. Suppose we change the styles to state:
<spanstyle="position: absolute; top: 0; left: 1em;right: 1em; width: 10em; margin-left: 1em; margin-right: auto;background: silver;">shrink-wrapped</span>
The visual result would be the same as that in Figure 11-16, only it would
be attained by computing the right margin to 12em instead of overriding
the value assigned to the property right.
If, on the other hand, we
made the left margin auto, then it would be reset, as illustrated in
Figure 11-17:
<spanstyle="position: absolute; top: 0; left: 1em;right: 1em; width: 10em; margin-left: auto; margin-right: 1em;background: silver;">shrink-wrapped</span>
In general, if only one of the properties is set to auto, then it will
be used to satisfy the equation given earlier in the section. Thus,
given the following styles, the element’s width would expand to whatever
size is needed, instead of “shrink-wrapping” the content:
<spanstyle="position: absolute; top: 0; left: 1em;right: 1em; width: auto; margin-left: 1em; margin-right: 1em;background: silver;">not shrink-wrapped</span>
So far we’ve really only examined behavior along the horizontal axis, but very similar rules hold true along the vertical axis. If we take the previous discussion and rotate it 90 degrees, as it were, we get almost the same behavior. For example, the following markup results in Figure 11-18:
<divstyle="position: relative; width: 30em; height: 10em; border: 1px solid;"><divstyle="position: absolute; left: 0; width: 30%;background: #CCC; top: 0;">element A</div><divstyle="position: absolute; left: 35%; width: 30%;background: #AAA; top: 0; height: 50%;">element B</div><divstyle="position: absolute; left: 70%; width: 30%;background: #CCC; height: 50%; bottom: 0;">element C</div></div>
In the first case, the height of the element is shrink-wrapped to the
content. In the second, the unspecified property (bottom) is set to
make up the distance between the bottom of the positioned element and
the bottom of its containing block. In the third case, top is unspecified, and therefore used to make up the difference.
For that matter, auto-margins can lead to vertical centering. Given the
following styles, the absolutely positioned div will be vertically
centered within its containing block, as shown in Figure 11-19:
<divstyle="position: relative; width: 10em; height: 10em; border: 1px solid;"><divstyle="position: absolute; left: 0; width: 100%; background: #CCC;top: 0; height: 5em; bottom: 0; margin: auto 0;">element D</div></div>
There are two small variations to point out. In horizontal layout,
either right or left can be placed according to the static position
if their values are auto. In vertical layout, only top can take on
the static position; bottom, for whatever reason, cannot.
Also, if an absolutely positioned element’s size is overconstrained in
the vertical direction, bottom is ignored. Thus, in the following
situation, the declared value of bottom would be overridden by the
calculated value of 5em:
<divstyle="position: relative; width: 10em; height: 10em; border: 1px solid;"><divstyle="position: absolute; left: 0; width: 100%; background: #CCC;top: 0; height: 5em; bottom: 0; margin: 0;">element D</div></div>
There is no provision for top to be ignored if the properties are
overconstrained.
Positioning rules are different for replaced elements (e.g., images) than they are for nonreplaced elements. This is because replaced elements have an intrinsic height and width, and therefore are not altered unless explicitly changed by the author. Thus, there is no concept of “shrink to fit” in the positioning of replaced elements.
The behaviors that go into placing and sizing replaced elements are most easily expressed by a series of rules to be taken one after the other. These state:
If width is set to auto, the used value of width is determined
by the intrinsic width of the element’s content. Thus, if an image is
intriniscally 50 pixels wide, then the used value is calculated to be
50px. If width is explicitly declared (that is, something like
100px or 50%), then the width is set to that value.
If left has the value auto in a left-to-right language, replace
auto with the static position. In right-to-left languages, replace an
auto value for right with the static position.
If either left or right is still auto (in other words, it
hasn’t been replaced in a previous step), replace any auto on
margin-left or margin-right with 0.
If, at this point, both margin-left and margin-right are still
defined to be auto, set them to be equal, thus centering the element
in its containing block.
After all that, if there is only one auto value left, change it to
equal the remainder of the equation.
This leads to the same basic behaviors we saw with absolutely positioned
nonreplaced elements, as long as you assume that there is an explicit
width for the nonreplaced element. Therefore, the following two
elements will have the same width and placement, assuming the image’s
intrinsic width is 100 pixels (see Figure 11-20):
<div><imgsrc="frown.gif"alt="a frowny face"style="position: absolute; top: 0; left: 50px; margin: 0;"></div><divstyle="position: absolute; top: 0; left: 50px;width: 100px; height: 100px; margin: 0;">it's a div!</div>
As with nonreplaced elements, if the values are overconstrained, the
user agent is supposed to ignore the value for right in left-to-right
languages and left in right-to-left languages. Thus, in the following
example, the declared value for right is overridden with a computed
value of 50px:
<divstyle="position: relative; width: 300px;"><imgsrc="frown.gif"alt="a frowny face"style="position: absolute; top: 0;left: 50px; right: 125px; width: 200px; margin: 0;"></div>
Similarly, layout along the vertical axis is governed by a series of rules that state:
If height is set to auto, the computed value of height is
determined by the intrinsic height of the element’s content. Thus, the
height of an image 50 pixels tall is computed to be 50px. If height
is explicitly declared (that is, something like 100px or 50%), then
the height is set to that value.
If top has the value auto, replace it with the replaced
element’s static position.
If bottom has a value of auto, replace any auto value on
margin-top or margin-bottom with 0.
If, at this point, both margin-top and margin-bottom are still
defined to be auto, set them to be equal, thus centering the element
in its containing block.
After all that, if there is only one auto value left, change it to
equal the remainder of the equation.
As with nonreplaced elements, if the values are overconstrained, then
the user agent is supposed to ignore the value for bottom.
Thus, the following markup would have the results shown in Figure 11-21:
<divstyle="position: relative; height: 200px; width: 200px; border: 1px solid;"><imgsrc="one.gif"alt="one"width="25"height="25"style="position: absolute; top: 0; left: 0; margin: 0;"><imgsrc="two.gif"alt="two"width="25"height="25"style="position: absolute; top: 0; left: 60px; margin: 10px 0;bottom: 4377px;"><imgsrc="three.gif"alt=" three"width="25"height="25"style="position: absolute; left: 0; width: 100px; margin: 10px;bottom: 0;"><imgsrc="four.gif"alt=" four"width="25"height="25"style="position: absolute; top: 0; height: 100px; right: 0;width: 50px;"><imgsrc="five.gif"alt="five"width="25"height="25"style="position: absolute; top: 0; left: 0; bottom: 0; right: 0;margin: auto;"></div>
With all of the positioning going on, there will inevitably be a
situation where two elements will try to exist in the same place,
visually speaking. One of them will have to overlap the
other—but how does one control which element comes out “on top”? This is
where the property z-index comes in.
z-index lets you alter the way in which elements overlap each other.
It takes its name from the coordinate system in which side-to-side is
the x-axis and top-to-bottom is the y-axis. In such a case, the
third axis—that which runs from back to front, as you look at the
display surface—is termed the z-axis. Thus, elements are given values
along this axis using z-index. Figure 11-22 illustrates this system.
In this coordinate system, an element with a higher z-index value is
closer to the reader than those with lower z-index values. This will
cause the high-value element to overlap the others, as illustrated in
Figure 11-23, which is a “head-on” view of Figure 11-22. This precedence of
overlapping is referred to as stacking.
Any integer can be used as a value for z-index, including negative
numbers. Assigning an element a negative z-index will move it further
away from the reader; that is, it will be moved lower in the stack.
Consider the following styles, illustrated in Figure 11-24:
p{background:rgba(255,255,255,0.9);border:1pxsolid;}p#first{position:absolute;top:0;left:0;width:40%;height:10em;z-index:8;}p#second{position:absolute;top:-0.75em;left:15%;width:60%;height:5.5em;z-index:4;}p#third{position:absolute;top:23%;left:25%;width:30%;height:10em;z-index:1;}p#fourth{position:absolute;top:10%;left:10%;width:80%;height:10em;z-index:0;}
Each of the elements is positioned according to its styles, but the
usual order of stacking is altered by the z-index values. Assuming the
paragraphs were in numeric order, then a reasonable stacking order would
have been, from lowest to highest, p#first, p#second, p#third,
p#fourth. This would have put p#first behind the other three
elements, and p#fourth in front of the others. Thanks to z-index,
the stacking order is under your control.
As the previous example demonstrates, there is no particular need to
have the z-index values be contiguous. You can assign any integer of
any size. If you want to be fairly certain that an element stayed in
front of everything else, you might use a rule along the lines of
z-index: 100000. This would work as expected in most cases—although if
you ever declared another element’s z-index to be 100001 (or
higher), it would appear in front.
Once you assign an element a value for z-index (other than auto),
that element establishes its own local stacking context. This means
that all of the element’s descendants have their own stacking order,
relative to the ancestor element. This is very similar to the way that
elements establish new containing blocks. Given the following styles,
you would see something like Figure 11-25:
p{border:1pxsolid;background:#DDD;margin:0;}#one{position:absolute;top:1em;left:0;width:40%;height:10em;z-index:3;}#two{position:absolute;top:-0.75em;left:15%;width:60%;height:5.5em;z-index:10;}#three{position:absolute;top:10%;left:30%;width:30%;height:10em;z-index:8;}p[id]em{position:absolute;top:-1em;left:-1em;width:10em;height:5em;}#oneem{z-index:100;background:hsla(0,50%,70%,0.9);}#twoem{z-index:10;background:hsla(120,50%,70%,0.9);}#threeem{z-index:-343;background:hsla(240,50%,70%,0.9);}
Note where the em elements fall in the stacking order. Each of them is
correctly layered with respect to its parent element. Each
em is drawn in front of its parent element, whether or not its
z-index is negative, and parents and children are grouped together like layers in an editing program. (The specification keeps children from
being drawn behind their parents when using z-index stacking, so the
em in p#three is drawn on top of p#one, even though its z-index
value is -343.) Its z-index value is taken with respect to its local
stacking context: its containing block. That containing block, in turn,
has a z-index, which operates within its local stacking context.
There remains one more value to examine. The CSS specification has this
to say about the default value, auto:
The stack level of the generated box in the current stacking context is 0. The box does not establish a new stacking context unless it is the root element.
So, any element with z-index: auto can be treated as though it is set
to z-index: 0.
As implied in a previous section, fixed positioning is just like absolute positioning, except the containing block of a fixed element is the viewport. A fixed-position element is totally removed from the document’s flow and does not have a position relative to any part of the document.
Fixed positioning can be exploited in a number of interesting ways. First off, it’s possible to create frame-style interfaces using fixed positioning. Consider Figure 11-26, which shows a very common layout scheme.
This could be done using the following styles:
div#header{position:fixed;top:0;bottom:80%;left:20%;right:0;background:gray;}div#sidebar{position:fixed;top:0;bottom:0;left:0;right:80%;background:silver;}
This will fix the header and sidebar to the top and side of the
viewport, where they will remain regardless of how the document is
scrolled. The drawback here, though, is that the rest of the document
will be overlapped by the fixed elements. Therefore, the rest of the
content should probably be contained in its own div and employ
something like the following:
div#main{position:absolute;top:20%;bottom:0;left:20%;right:0;overflow:scroll;background:white;}
It would even be possible to create small gaps between the three
positioned divs by adding some appropriate margins, as follows:
body{background:black;color:silver;}/* colors for safety's sake */div#header{position:fixed;top:0;bottom:80%;left:20%;right:0;background:gray;margin-bottom:2px;color:yellow;}div#sidebar{position:fixed;top:0;bottom:0;left:0;right:80%;background:silver;margin-right:2px;color:maroon;}div#main{position:absolute;top:20%;bottom:0;left:20%;right:0;overflow:auto;background:white;color:black;}
Given such a case, a tiled image could be applied to the body
background. This image would show through the gaps created by the
margins, which could certainly be widened if the author saw fit.
Another use for fixed positioning is to place a “persistent” element on
the screen, like a short list of links. We could create a persistent
footer with copyright and other information as follows:
footer{position:fixed;bottom:0;width:100%;height:auto;}
This would place the footer element at the bottom of the viewport and
leave it there no matter how much the document is scrolled.
Many of the layout cases for fixed positioning, besides “persistent elements,” are handled as well, if not better, by Grid layout (see Chapter 13 for more).
The simplest of the positioning schemes to understand is relative positioning. In this scheme, a positioned element is shifted by use of the offset properties. However, this can have some interesting consequences.
On the surface, it seems simple enough. Suppose we want to shift an image up and to the left. Figure 11-27 shows the result of these styles:
img{position:relative;top:-20px;left:-20px;}
All we’ve done here is offset the image’s top edge 20 pixels upward and offset the left edge 20 pixels to the left. However, notice the blank space where the image would have been had it not been positioned. This happened because when an element is relatively positioned, it’s shifted from its normal place, but the space it would have occupied doesn’t disappear. Consider the results of the following styles, which are depicted in Figure 11-28:
em{position:relative;top:10em;color:red;}
As you can see, the paragraph has some blank space in it. This is where
the em element would have been, and the layout of the em element in
its new position exactly mirrors the space it left behind.
It’s also possible to shift a relatively positioned element to overlap other content. For example, the following styles and markup are illustrated in Figure 11-29:
img.slide{position:relative;left:30px;}
<p>In this paragraph, we will find that there is an image that has been pushed to the right. It will therefore<imgsrc="star.gif"alt="A star!"class="slide">overlap content nearby, assuming that it is not the last element in its line box.</p>
There is one interesting wrinkle to relative positioning. What happens when a relatively positioned element is overconstrained? For example:
strong{position:relative;top:10px;bottom:20px;}
Here we have values that call for two very different behaviors. If we
consider only top: 10px, then the element should be shifted downward
10 pixels, but bottom: 20px clearly calls for the element to be
shifted upward 20 pixels.
The original CSS2 specification does not say what should happen in this
case. CSS2.1 stated that when it comes to overconstrained relative
positioning, one value is reset to be the negative of the other. Thus,
bottom would always equal -top. This means the previous example
would be treated as though it had been:
strong{position:relative;top:10px;bottom:-10px;}
Thus, the strong element will be shifted downward 10 pixels. The
specification also makes allowances for writing directions. In relative
positioning, right always equals -left in left-to-right languages;
but in right-to-left languages, this is reversed: left always equals
-right.
A new addition to CSS is the concept of sticky positioning. If you’ve ever used a decent music app on a mobile device, you’ve probably noticed this in action: as you scroll through an alphabetized list of artists, the current letter stays stuck at the top of the window until a new letter section is entered, at which point the new letter replaces the old. It’s a little hard to show in print, but Figure 11-30 takes a stab at it by showing three points in a scroll.
CSS makes this sort of thing possible by declaring an element to be
position: sticky, but (as usual) there’s more to it than that.
First off, the offsets (top, left, etc.) are used to define a
sticky-positioning rectangle with relation to the containing block.
Take the following as an example. It will have the effect shown in
Figure 11-31, where the dashed line shows where the sticky-positioning
rectangle is created:
#scrollbox{overflow:scroll;width:15em;height:18em;}#scrollboxh2{position:sticky;top:2em;bottom:auto;left:auto;right:auto;}
Notice that the h2 is actually in the middle of the rectangle in Figure 11-31. That’s its place in the normal flow of the content inside the
#scrollbox element that contains the content. The only way to make it
sticky is to scroll that content until the top of the h2 touches the
top of the sticky-positioning rectangle—at which point, it will stick
there. This is illustrated in Figure 11-32.
In other words, the h2 sits in the normal flow until its sticky edge
touches the sticky edge of the rectangle. At that point, it sticks there
as if absolutely positioned, except that it leaves behind the space it
otherwise would have occupied in the normal flow.
You may have noticed that the scrollbox element doesn’t have a
position declaration. There isn’t one hiding offstage, either: it’s
overflow: scroll that created a containing block for the
sticky-positioned h2 elements. This is the one case where a containing
block isn’t determined by position.
If the scrolling is reversed so that the h2’s normal-flow position
moves lower than the top of the rectangle, the h2 is detached from the
rectangle and resumes its place in the normal flow. This is shown in
Figure 11-33.
Note that the reason the h2 stuck to the top of the rectangle in
these examples is that the value of top was set to something other
than auto for the h2; that is, for the sticky-positioned element.
You can use whatever offset side you want. For example, you
could have elements stick to the bottom of the rectangle as you scroll
downwards through the content. This is illustrated in Figure 11-34:
#scrollbox{overflow:scroll;position:relative;width:15em;height:10em;}#scrollboxh2{position:sticky;top:auto;bottom:0;left:auto;right:auto;}
This could be a way to show footnotes or comments for a given paragraph, for example, while allowing them to scroll away as the paragraph moves upward. The same rules apply for the left and right sides, which is useful for side-scrolling content.
If you define more than one offset property to have a value other than
auto, then all of them will become sticky edges. For example, this
set of styles will force the h2 to always appear inside the scrollbox,
regardless of which way its content is scrolled (Figure 11-35):
#scrollbox{overflow:scroll;:15em;height:10em;}#scrollboxh2{position:sticky;top:0;bottom:0;left:0;right:0;}
You might wonder: what happens if I have multiple sticky-positioned elements in a situation like this, and I scroll past two or more? In effect, they pile up on top of one another:
#scrollbox{overflow:scroll;width:15em;height:18em;}#scrollboxh2{position:sticky;top:0;width:40%;}h2#h01{margin-right:60%;background:hsla(0,100%,50%,0.75);}h2#h02{margin-left:60%;background:hsla(120,100%,50%,0.75);}h2#h03{margin-left:auto;margin-right:auto;background:hsla(240,100%,50%,0.75);}
It’s not easy to see in static images like Figure 11-36, but the way the headers are
piling up is that the later they are in the source, the closer they are
to the viewer. This is the usual z-index behavior—which means that you
can decide which sticky elements sit on top of others by assigning
explicit z-index values. For example, suppose we wanted the first
sticky element in our content to sit atop all the others. By giving it
z-index: 1000, or any other sufficiently high number, it would sit on
top of all the other sticky elements that stuck in the same place. The
visual effect would be of the other elements “sliding under” the topmost
element.
Thanks to positioning, it’s possible to move elements around in ways that the normal flow could never accommodate. Although many positioning tricks are soon to give way to grid layout, there are still a lot of uses for positioning—from sidebars that always stay in the viewport to sticky section headings in lists or long articles. Combined with the stacking possibilities of the z-axis and the various overflow patterns, there’s still a lot to like in positioning.
The CSS Flexible Box Module Level 1, or Flexbox for short, makes the once difficult task of laying out many classes of page, widget, application, and gallery almost simple. With Flexbox, you often don’t need a CSS framework. In this chapter, you’ll learn how, with a few lines of CSS, you can create almost any feature your site requires.
Flexbox is a simple and powerful way to lay out page components by dictating how space is distributed, content is aligned, and elements are visually ordered. Content can easily be arranged vertically or horizontally, and can be laid out along a single axis or wrapped across multiple lines. And much, much more.
With flexbox, the appearance of content can be independent of source order. Though visually altered, flex properties should not impact the order of how the content is read by screen readers.
Screen readers following source order is in the specification, but Firefox currently follows the visual order. There is discussion in the accessibility community that this Firefox “bug” may be the correct behavior, so the spec may change.
Perhaps most importantly, with flexible box module layouts, elements can be made to behave predictably for different screen sizes and different display devices. Flexbox works very well with responsive sites, as content can increase and decrease in size when the space provided is increased or decreased.
Flexbox works off of a parent and child relationship. Flexbox layout is activated
by declaring display: flex or display: inline-flex on an element. This element
becomes a flex container, arranging its children within the
space provided and controlling their layout. The children of this flex
container become flex items. Consider the following styles and markup, illustrated in Figure 12-1:
div#one{display:flex;}div#two{display:inline-flex;}div{border:1pxdashed;background:silver;}div>*{border:1pxsolid;background:#AAA;}divp{margin:0;}
<divid="one"><p>flex item with<br>two longer lines</p><span>flex item</span><p>flex item</p></div><divid="two"><span>flex item with<br>two longer lines</span><span>flex item</span><p>flex item</p></div>
Look for the Play symbol
to know when an online example is available. All of the examples in this chapter can be found at https://meyerweb.github.io/csstdg4figs/12-flexbox/.
Notice how each child element of the divs became a flex item, and furthermore, how they all laid out in the same way? It didn’t matter that some were paragraphs and others were spans. They all became flex items. (There would likely have been some differences due to the paragraphs’ margins, except those were removed.)
The only real difference between the first and second flex containers is that one was set to display: flex, and the other to display: inline-flex. In the first, the div becomes a block box with flex layout inside it. In the second, the div becomes an inline-block box with flex inside it.
As of this writing, a new pattern emerging in CSS is to separate display values into separate keywords. In this new system, the values used would be display: flex block and display: flex inline. The legacy values flex and inline-flex will continue to work fine, so don’t worry about using them, but if you see values like inline flex or flex inline, that’s why.
The key thing to keep in mind is that once you set an element to be a flex container, like the divs in Figure 12-1, it
will only flex its immediate children, and not further descendants.
However, you can make those descendants flex containers as well, enabling
some really complex layouts.
Within a flex container, items line up on the main axis. The main axis can either be horizontal or vertical, so you can arrange items into columns or rows. The main axis takes on the directionality set via the writing mode: this main axis concept will be discussed in depth later on (see “Understanding axes”).
As the first div in Figure 12-1 demonstrates,
when the flex items don’t fill up the entire
main axis (in this case, the width) of the container, they will leave extra space.
There are properties dictating how to handle that extra space, which we’ll explore later in the chapter.
You can group the children to the left, the right, or
centered, or you can spread them out, defining how the space is spread
out either between or around the children.
Besides distributing space, you can also allow the flex items to grow to take up all the available space by distributing that extra space among one, some, or all of the flex items. If there isn’t enough space to contain all the flex items, there are flexbox properties you can employ to dictate how they should shrink to fit within their container, or whether they’re allowed to wrap to multiple flex lines.
Furthermore, the children can be aligned with respect to their container or to each other; to the bottom, top, or center of the container; or stretched out to fill the container. Regardless of the difference in content length among sibling containers, with flexbox you can make all the siblings the same size with a single declaration.
Let’s say we want to create a navigation bar out of a group of links. This is exactly the sort of thing flexbox was designed to handle. Consider:
nav{display:flex;}
<nav><ahref="/">Home</a><ahref="/about">About</a><ahref="/blog">Blog</a><ahref="/jobs">Careers</a><ahref="/contact">Contact Us</a></nav>
In the preceding code, with its display property set to flex, the
nav element is turned into a flex container, and its child links are all
flex items. These links are still hyperlinks,
but they’re also flex items in terms of their presentation.
They are no longer inline-level
boxes: rather, they participate in their container’s flex formatting
context. Therefore, the whitespace between the a elements is completely ignored in layout terms. If you’ve ever used HTML comments to suppress the space between links, list items, or other elements, you know why this is a big deal.
So let’s add some more CSS to the links:
nav{display:flex;border-bottom:1pxsolid#ccc;}a{margin:05px;padding:5px15px;border-radius:3px3px00;background-color:#ddaa00;text-decoration:none;color:#ffffff;}a:hover,a:focus,a:active{background-color:#ffcc22;color:black;}
With that CSS, we’ve got ourselves a simple tabbed navigation bar, as shown in Figure 12-2.
That might not seem like much right now, because there’s nothing here you couldn’t have done with old-school CSS. Just wait: it gets better.
By design, flexbox is direction-agnostic. This is different from block or inline layouts, which are defined to be vertically and horizontally biased, respectively. The web was originally designed for the creation of pages on monitors, and assumed a horizontal constraint with infinite vertical scroll. This vertically-biased layout is insufficient for modern applications that change orientation, grow, and shrink, depending on the user agent and the direction of the viewport, and change writing modes depending on the language.
For years we joked about the challenges of vertical centering and multiple column layout. Some layouts were no laughing matter, like ensuring equal heights in a grid of multiple side-by-side boxes, with buttons or “more” links fixed to the bottom of each box, and with the button’s content neatly vertically centered, as shown in Figure 12-3; or, ensuring boxes in a varied content gallery were all the same height, while the top gallery row of boxes was neatly lined up with the boxes in subsequent rows, as shown in Figure 12-4; or, keeping the pieces of a single button all neatly lined up, as shown in Figure 12-5. Flexbox makes all of these challenges fairly simple.
Before floated layouts, it was common to see tables used for layout. Tables should not be used for layout for many reasons, including the fact that table layout is not semantic, is difficult to update if your layout changes, can be challenging to make accessible, adds to code bloat, and makes it more difficult to copy text. That said, tables are appropriate for tabular data.
The classic “Holy Grail” layout, with a header, three equal-height columns of varying flexibility, and a footer, could be solved in many ways—none of them simple—until we had flexbox. Here’s an example of the HTML that might represent such a layout:
<header>Header</header><main><nav>Links</nav><aside>Aside content</aside><article>Document content</article></main><footer>Footer</footer>
Most designs call for columns of equal heights, but adding backgrounds
to the aside, article, and nav would amplify that they have different heights. To provide for the appearance of equal-height columns, we often added a faux background to the parent based on the column widths declared in our CSS, used massive padding and negative margins, inserted cleared generated content, and other tricks.
With all of these tricks cluttering up our CSS (and somethings our HTML), the old layout methods could be downright confusing. Many people started using YUI grids, Bootstrap, Foundation, 960 grid, and other CSS layout libraries just to bring a little bit of sanity to their development process. Hopefully, this book will help you realize you no longer need a CSS framework to keep your layout styles sane.
As this chapter progresses, remember that flexbox was designed for a specific type of layout, that of single-dimensional content distribution. In other words, it works best at arranging information along a single dimension, or axis. While you can create grid-like layouts (two-dimensional alignment) with flexbox, this is not its intended purpose. If you find yourself pining for two-dimensional layout capabilities, see Chapter 13, “Grid Layout”.
The first important notion to fully understand is that of flex container,
also known as container box. The element on which
display: flex or display: inline-flex is applied becomes the flex container and generates a flex
formatting context for its child elements.
These children are flex items, whether they are DOM nodes, text nodes, or generated content. Absolutely positioned children of flex containers are also flex items, but each is sized and positioned as though it is the only flex item in the flex container.
We’ll first learn all about the CSS properties that apply to the flex container, including several properties impacting the layout of flex items. Flex items themselves are a major concept you need to understand, and will be covered in full later on, in “Flex Items”.
The display property examples in Figure 12-1 show three flex items
side by side, going from left to right, on one line. With a few
additional property value declarations, we can center the items, align them to the bottom of the container,
rearrange their order of appearance, or lay them out from left to
right or from top to bottom. We can even make them span a few
lines.
Sometimes we’ll have one flex item, sometimes we’ll have dozens. Sometimes we’ll know how many children a node will have, and sometimes the number of children will not be under our control. We might know the number of items, but not know the width of the container. We should have robust CSS that can handle our layouts when we don’t know how many flex items we’ll have or how wide the flex container will be (think responsive). Fortunately, flexbox makes all of that much easier than it sounds, and it does so with just a handful of new properties.
If you want your layout to go from top to bottom, left to right, right
to left, or even bottom to top, you can use flex-direction to control
the main axis along which the flex items get laid out.
The flex-direction property specifies how flex items are placed in the
flex container. It defines the
main axis of a flex container, which is the primary axis along which flex items are laid out (see “Understanding axes” for more details).
Assume the following basic markup structure:
<ol><li>1</li><li>2</li><li>3</li><li>4</li><li>5</li></ol>
Figure 12-6 shows how that simple list would be arranged by each of the four values of flex-direction applied, assuming a left-to-right language.
The default value, row, doesn’t look all that different than a bunch of inline or floated elements. This is misleading, for reasons we’ll soon see, but notice how the other flex-direction values affect the arrangement of the list items.
For example, you can reverse this layout of the items with flex-direction: row-reverse. The flex items are laid out from top to bottom when
flex-direction: column is set, and from bottom to top if
flex-direction: column-reverse is set, as shown in Figure 12-6.
We specified left-to-right languages, because the direction of the main
axis for row—the direction the flex items are laid out in—is the
direction of the current writing mode. We’ll discuss how writing modes affect flex direction and layout in a bit.
Do not use flex-direction to change the layout for
right-to-left languages. Rather, use the dir attribute, or the
writing-mode CSS property described in “Setting Writing Modes”, which enables switching between horizontal
and vertical, to indicate the language direction. To learn more about language direction and flex box, see “Other Writing Directions”, later in the chapter, for more details.
In languages like English, the column value sets the flex container’s main axis to be the same
orientation as the block axis of the current writing mode. This is the
vertical axis in horizontal writing modes like English, and the horizontal axis in vertical writing modes like traditional Japanese.
Thus, when declaring a column direction, the flex items are displayed in the same order as
declared in the source document, but from top to bottom instead of left
to right, so the flex items are laid out one on top of the next instead
of side by side. Consider:
nav{display:flex;flex-direction:column;border-right:1pxsolid#ccc;}a{margin:5px;padding:5px15px;border-radius:3px;background-color:#ccc;text-decoration:none;color:black;}a:hover,a:focus,a:active{background-color:#aaa;text-decoration:underline;}
Using markup like that, by simply
changing a few CSS properties, we can create a nice sidebar-style
navigation for the list of links we saw earlier as a horizontal row of tabs.
For the new layout, we merely change the flex-direction from
the default value row to column, move the border from the bottom to the
right, and change the colors, border-radius, and margin values, with the result seen in
Figure 12-7.
The column-reverse value is similar to column, except the main axis
is reversed, with main start being at the bottom, and main end being
at the top of the vertical main axis, going upward, as shown in
Figure 12-6. The reverse values only change the appearance. The speech order and tab
order remains the same as the underlying markup.
What we’ve learned so far is super powerful and makes layout a breeze. If we include the navigation within a full document, we can see how simple layout can be with just a few flexbox property declarations.
Let’s expand a little on our preceding HTML example, and include the navigation as a component within a home page:
<body><header><h1>My Page's title!</h1></header><nav><ahref="/">Home</a><ahref="/about">About</a><ahref="/blog">Blog</a><ahref="/jobs">Careers</a><ahref="/contact">Contact Us</a></nav><main><article><imgalt=""src="img1.jpg"><p>This is some awesome content that is on the page.</p><button>Go Somewhere</button></article><article><imgalt=""src="img2.jpg"><p>This is more content than the previous box, but less than the next.</p><button>Click Me</button></article><article><imgalt=""src="img3.jpg"><p>We have lots of content here to show that content can grow, and everything can be the same size if you use flexbox.</p><button>Do Something</button></article></main><footer>Copyright©2018</footer></body>
By simply adding a few lines of CSS, we’ve got a nicely laid out home page, as shown in Figure 12-8:
*{outline:1px#cccsolid;margin:10px;padding:10px;}body,nav,main,article{display:flex;}body,article{flex-direction:column;}
Yes, elements can be both flex items while being flex containers, as we
see with the navigation, main, and articles in this case. The body and
articles have column set as their flex directions, and we let nav
and main default to row. Just two lines of CSS!
To be clear, there’s more styling at work in Figure 12-8. Some border, margin, and padding were applied to all the elements, so you can visually differentiate the flex items for the sake of learning (I wouldn’t put this less-than-attractive site in production). Otherwise, all we’ve done is simply declare the body, navigation, main, and articles as flex containers, making all the navigation, links, main, article, images, paragraphs, and buttons flex items.
If you’re creating websites in English, or another left-to-right (LTR)
language, you likely want the flex items to be laid out from left to
right, and from top to bottom. Defaulting or setting row will do that.
If you’re writing in Arabic, or another right-to-left language, you likely
want the flex items to be laid out from right to left (RTL), and from top to
bottom. Defaulting or setting row will do that, too.
flex-direction: row arranges the flex items in the same direction as
the text direction, also known as the writing mode, whether it’s the language is RTL
or LTR. While most websites are presented in left-to-right
languages, some sites are in right-to-left languages, and yet others are
top to bottom. With flexbox, you can define single layout. When you
change the writing mode, flexbox takes care of changing the flex
direction for you.
The writing mode is set by the writing-mode, direction, and
text-orientation properties, or by the dir attribute in HTML. (These are covered in Chapter 6.)
When the writing mode is right to left, the
direction of the main axis—and therefore the flex items within the flex
container—will go from right to left when the
flex-direction is row. This is illustrated in Figure 12-9.
If the CSS direction value is different from the dir attribute value
on an element, the CSS property value takes precedence over the HTML
attribute. The specifications strongly recommend using the HTML attribute rather than the CSS property.
There are vertically written languages, including Bopomofo, Egyptian hieroglyphs, Hiragana, Katakana, Han, Hangul, Meroitic cursive and hieroglyphs, Mongolian, Ogham, Old Turkic, Phags Pa, Yi, and sometimes Japanese. These languages are only vertical when a vertical writing mode is specified. If one isn’t, then all of those languages are horizontal. If a vertical writing mode is specified, then all of the content is vertical, whether one of the listed vertically written languages or even English.
For top-to-bottom languages,
writing-mode: horizontal-tb is in effect, the main axis is
rotated 90 degrees clockwise from the default left to right, so
flex-direction: row goes from top to bottom and
flex-direction: column; proceeds from right to left. The effects the various flex-direction values have on the following markup is shown in
Figure 12-10:
<ollang="jp"><li>一</li><li>二</li><li>三</li><li>四</li><li>五</li></ol>
That’s right: the rows are vertical, and columns are horizontal. Not only that, but the basic column direction is right to left, whereas column-reverse runs left to right. That’s what comes of applying these values to a top-to-bottom, right-to-left language like we see here.
All right, we’ve seen various ways flex direction and writing modes interact.
But so far, all the examples have shown a single row or column of flex items. What happens when the flex items’ main dimension (their combined
widths for row or combined heights for column) don’t fit within the
flex container? We can either have them overflow,
or we can allow them to wrap onto additional flex lines. We’ll later learn how to make the flex items shrink to fit too.
If the flex items don’t all fit into the
main axis of the flex container, by default the flex items will not
wrap, nor will they necessarily resize.
Rather, the flex items may shrink if allowed to do so via the flex
item’s flex property (see “Growth Factors and the flex Property”) and/or the flex items may overflow the bounding container box.
You can affect this behavior. The flex-wrap property can be set on
the container to allow the flex items to wrap onto multiple flex lines—rows or columns of flex items—instead of having flex items
overflow the container or shrink as they remain on one line.
The flex-wrap property controls whether the flex container is limited
to being a single-line container or is allowed to become multiline if
needed. When the flex-wrap property is set to allow for multiple flex
lines, whether the value of wrap or wrap-reverse is set determines
whether any additional lines appear either before or after the original line of
flex items.
By default, no matter how many flex items there are, all the flex items
are drawn on a single line. This is often not what we want. That’s where
flex-wrap comes into play. The wrap and wrap-reverse values allow
the flex items to wrap onto additional flex lines when the constraints
of the parent flex container are reached.
Figure 12-11 demonstrates the three values of flex-wrap property when the
flex-direction value is row (and the language is LTR).
Where these examples show two
flex lines, the second line and subsequent flex lines are added in the
direction of the cross axis (in this case, the vertical axis).
Generally for wrap, the cross axis goes from top to bottom for row
and row-reverse and the horizontal direction of the language for
column and column-reverse. The wrap-reverse value is similar to
wrap, except that additional lines are added before the initial line
rather than after it.
When set to wrap-reverse, the cross axis direction is reversed: subsequent lines
are drawn on top in the case of row and
row-reverse and to the left of the previous column in
the case of column and column-reverse.
Similarly, in right-to-left languages,
row wrap-reverse and row-reverse wrap-reverse,
new lines will also be added on top, but for
column wrap-reverse and
column-reverse wrap-reverse newlines will be added to the
right—the opposite of the language direction or writing mode, the
direction of the inverted cross axis.
We’ll talk about axes in just a moment, but first, let’s talk about the shorthand that bring flex direction and wrapping together.
The flex-flow property lets you define the directions of the main and
cross axes, and whether the flex items can wrap to more than one line if
needed.
The flex-flow shorthand property sets the flex-direction and
flex-wrap properties to define the flex container’s wrapping and main
and cross axes.
As long as display is set to flex or inline-flex, omitting
flex-flow, flex-direction, and flex-wrap is the same as declaring
any of the following three, all of which have the result shown in Figure 12-12:
flex-flow:row;flex-flow:nowrap;flex-flow:rownowrap;
In left-to-right writing modes, declaring any of the property values just listed, or omitting
the flex-flow property altogether, will create a flex container with a
horizontal main axis that doesn’t wrap. Figure 12-12 illustrates flex items distributed along the horizontal axis, on one line,
overflowing the container that’s 500 pixels wide.
If instead we wanted a reverse-column-oriented flow with wrapping, either of these would suffice:
flex-flow:column-reversewrap;flex-flow:wrapcolumn-reverse;
In an LTR language, that would cause the flex items to flow from bottom to top, starting at the left side, and wrap to new columns in the rightward direction. In a vertical writing mode like Japanese, the columns would be horizontal, flowing from left to right, and wrap top to bottom.
We’ve kept using terms like “main axis” and “cross axis” without really delving into what they mean. It’s time to clarify all that.
First: flex items are laid out along the main axis. Flex lines are added in the direction of the cross axis.
Up until we introduced flex-wrap, all the examples had a single line
of flex items. That single line of flex items involved laying out the
flex items along the main axis, in the main direction, from
main-start to main-end. Depending of the flex-direction property,
those flex items were laid out side by side, top to bottom or bottom to
top, in one row or column along the direction of the main axis. These are illustrated in detail in Figure 12-13.
As you can see, there are a lot of terms used in that figure, many of them new to the discussion. Here are some quick definitions:
The axis along which content flows. In flexbox, this is the direction in which flex items are flowed.
The end of the main axis toward which content flows, opposite the main start.
The axis along which blocks are stacked. In flexbox, this is the direction in which new lines of flex items are placed, if flex wrapping is permitted.
The edge of the cross axis where blocks begin to be stacked.
The opposite edge of the cross axis from the cross start.
Where each of these are placed depends on the combination of the flex direction, the flex wrapping, and the writing mode. Charting all the combinations for every writing mode would get difficult, so let’s examine what the mean for left-to-right languages. Table 12-1 breaks it down for us.
It’s important to understand things get reversed when writing direction is reversed. To make explaining (and understanding) flex layout much simpler, we’re going to base the rest of the explanations and examples in this chapter on left-to-right writing mode, but will include how writing mode impacts the flex properties and features discussed.
| Flex directions in LTR writing modes | |||||
|---|---|---|---|---|---|
| row | row-reverse | column | column-reverse | ||
| main axis | left to right | right to left | top to bottom | bottom to top | |
| main-start | left | right | top | bottom | |
| main-end | right | left | bottom | top | |
| main size | width | width | height | height | |
| main dimension | horizontal | horizontal | vertical | vertical | |
| cross axis | top to bottom | top to bottom | left to right | left to right | |
| cross-start | top | top | left | left | |
| cross-end | bottom | bottom | right | right | |
| cross size | height | height | width | width | |
| cross dimension | vertical | vertical | horizontal | horizontal | |
When thinking about flex-direction, we know the flex items are
going to start being laid out along the main axis of the flex
container, starting from the main-start.
When the flex-wrap property is used to allow the
container to wrap if the flex items don’t fit onto one line, the cross
directions determine the direction of additional lines in multiline
flex containers.
As we learned in the flex-flow shorthand
overview in “Wrapping Flex Lines”, flex items can be set to wrap to additional lines if
they would otherwise overflow the main size of the
container. While the laying out of the flex items on each flex line is
done in the main direction, going from main-start to main-end, the
wrapping to additional lines is done along the cross direction, from
cross-start to cross-end.
The cross axis is always perpendicular to the main axis.
As we see in Figure 12-14, when we have horizontal rows of flex items, the
cross axis is vertical. Flex lines are added in the direction of the
cross axis. In these examples, with flex-flow: row wrap and
flex-flow: row-reverse wrap set on horizontal languages, new flex
lines are added below preceding flex lines.
The cross size is the opposite of main size, being height for row
and row-reverse and width for column and column-reverse in both
RTL and LTR languages (though not top-to-bottom languages).
Flex lines are filled with items and placed into
the container, with the first line added at the cross-start side of
the flex container and going toward the cross-end side.
The wrap-reverse value inverts the direction of the cross axis.
Normally for flex-direction of row and row-reverse, the
cross axis goes from top to bottom, with the cross-start on top and
cross-end on the bottom. When flex-wrap is wrap-reverse, the
cross-start and cross-end directions are swapped, with the
cross-start on the bottom, cross-end on top, and the cross axis
going from bottom to top. Additional flex lines get added on top of, or above, the
previous line.
If the flex-direction is set to column or column-reverse, by
default the cross axis goes from left to right in left-to-right
languages, with new flex lines being added to the right of previous
lines. As shown in Figure 12-15, when flex-wrap is set to wrap-reverse,
the cross axis is inverted, with cross-start being on the right,
cross-end being on the left, the cross axis going from right to
left, with additional flex lines being added to the left of the
previously drawn line.
align-items: flex-start
and align-content: flex-start were added to the
flex container in Figure 12-14 and Figure 12-15 to enunciate the height and directions
of the flex lines. These properties are covered in the following sections.
Now that we have a
better understanding of all these terms and dimensions, let’s get back to
the flex-wrap property.
The default value of nowrap prevents wrapping, so the cross-
directions just discussed aren’t relevant when there is no chance of a
second flex line. When additional lines are possible—when flex-wrap
is set to wrap or wrap-reverse—those lines will be added in the
cross direction. The first
line is placed at the cross-start, with additional lines being added on
the cross-end side.
You can invert the direction of the cross axis, adding new lines on
top or to the left, of previous lines by including
flex-wrap: wrap-reverse. In Figure 12-16, the last example
is wrap-reverse. You’ll notice the new line starts at the
main-start, but is added in the inverse direction of the cross axis
set by the flex-direction property.
In Figure 12-16, the same flex-wrap values are repeated, but with a
flex-direction: column property value instead of row. In this case,
the flex items are laid out along the vertical axis. Just as with the
row-oriented flows, if wrapping is not enabled by the
flex-wrap property—either because flex-wrap: nowrap is explicitly
set on the container, or if the property is omitted and it defaults to
nowrap—no new flex lines will be added even if that means the flex items are drawn beyond the bounding box of the flex container.
With column, just like with row, if the flex items don’t fit into
the flex container and no wrapping is allowed, they’ll overflow the flex container, unless
explicitly changed with min-width: 0 or similar, in which case they
shrink to fit, though flex items will not shrink to smaller than their
border, padding and margins combined.
When flex-flow: column wrap is set on a flex container, if there isn’t
enough room for the flex items to fit into the first column, they’ll wrap onto new lines.
The next flex item will be put on a new line in the cross-axis direction, which in this case is a
vertical line (a column) to the right of the previous line, as can be observed in
the flex-flow: column wrap example in
Figure 12-16. In that particular case, the flex
items have wrapped onto three lines. When we set flex-flow: column wrap-reverse,
the same thing happens, except the cross-start and cross-end placements are swapped, so the initial column goes on the right and subsequent columns (flex lines) are added to the left of that initial column.
As you can see, flex-direction and flex-wrap have great impact on
your layout and on each other. Because it’s generally important to set
both if you’re going to set either, we’re provided with the flex-flow
property, which the specification strongly recommends we use.
In our examples thus far, we’ve skated past the precise arrangement of flex items within each line, and how that’s determined. It might seem intuitive that a row fills in horizontally, but why should all the items huddle toward the main-start edge? Why not have them grow to fill all available space, or distribute themsleves throughout the line?
For an example of what we’re talking about here, check out Figure 12-17. Notice the extra space on the top left. In this bottom-to-top, right-to-left flow, new flex items get placed above of the previous ones, with new wrap lines being placed to the left of each previously filled line.
By default, no matter the values of flex-flow,
empty space beyond the flex items in a flex container will be in the direction of main-end
and cross-end…but there are properties that allow us to
alter that.
Thus far in our examples, when the flex items did not fill the flex container, the flex items were all grouped toward the main-start on the main axis. Flex items can be flush against the main-end instead, centered, or even spaced out evenly across the main axis.
The flex layout specification provides us with flex container properties
to control the distribution of space: in addition to display and
flex-flow, the CSS Flexible Box Layout Module Level 1 properties
applied to flex containers include the justify-content,
align-content, and align-items properties.
The justify-content property controls how flex items in a flex line
are distributed along the main axis. The align-content defines how
flex lines are distributed along the cross axis of the flex container.
The align-items property defines how the flex items are distributed
along the cross axis of each of those flex lines. Let’s start by arranging flex items within flex lines.
The justify-content property enables us to direct how flex items are distributed along the main axis of the flex container within each flex line. It is applied to the flex container, not the individual flex items.
The value of justify-content defines how space is distributed around, or in some cases between, the flex items inside a flex container. The effects of the six possible values are shown in Figure 12-18.
With flex-start, which is the default value, flex
items are placed flush against main-start. With flex-end, flex
items are justified toward main-end. center groups the items flush
against each other, centered in the middle of the main-dimension along
the main axis.
The space-between value puts the first flex item on a
flex line flush with main-start and the last flex item in each flex
line flush with main-end, and then puts an equal amount of space
between every pair of adjacent flex items. space-around splits up the leftover space and then applies half of each portion to each flex item, as if there were non-collapsing margins of
equal size around each item. Note that this means the space between any two flex items is twice that of the space between the first and last flex items and those at the main-start and main-end of the flex line. space-evenly takes the leftover space and splits it so that every gap is the same length. This means the spaces to the start and end edges of the main axis will be the same as the spaces placed between flex items.
justify-content affects more than just the placement within a flex line. If the items are not wrapped and overflow the flex line, then the value of justify-content influences how the flex items will overflow the flex container. This is illustrated in Figure 12-19.
Let’s take a look at the six values in slightly more detail.
Setting justify-content: flex-start explicitly sets the default
behavior of grouping the flex items toward main-start, placing the
first flex item of each flex line flush against the main-start side.
Each subsequent flex item then gets placed flush with the preceding flex
item’s main-end side, until the end of the flex line is reached if
wrapping is set. The location of the main-start side depends on the
flex direction and writing mode, which is explained in “Understanding axes”. If there isn’t
enough room for all the items, and nowrap is the default or expressly
set, the items will overflow on the main-end edge, as shown in Figure 12-20.
Setting justify-content: flex-end puts the last flex on a line flush
against the main-end with each preceding flex item being placed flush
with the subsequent item. In this case, if the items aren’t allowed to
wrap, and if there isn’t enough room for all the items, the items will
overflow on the main-start edge, as shown in
Figure 12-21. Any extra space on a flex line will be on the main-start
side.
Setting justify-content: center will pack all the items together, flush against each other at the center of each flex line instead
of at the main-start or main-end. If there isn’t enough room for all
the items and they aren’t allowed to wrap, the items will overflow
evenly on both the main-start and main-end edges, as shown in the second example in
Figure 12-22. If the flex items
wrap onto multiple lines, each line will have centered flex items, with
extra space being on the main-start and main-end edges.
Setting justify-content: space-between puts the first flex item flush
with main-start and the last flex item on the line flush with
main-end, and then puts an even amount of space around each flex item,
until the flex line is filled. Then it repeats the process with any flex
items that are wrapped onto additional flex lines. If there are three flex
items, there will be the same amount of space between the first and second items as between the second and third, but there will be no extra empty space between the main-start
edge of the container and the first item and the opposite (or main-end) edge of the container and the main-end edge of the last item, as shown in the second example
in Figure 12-23. With space-between, the first item is flush with
main-start, which is important to remember when you only have one flex
item or when your flex items overflow the flex container in a nowrap
scenario. This means, if there is only one flex item, it will be flush
with main-start, not centered, which seems counterintuitive to many
at first.
With justify-content: space-between the space between any two items on
a flex line will be equal but won’t necessarily be the same across
flex lines. When set to allow wrapping, on the last flex line, the
first flex item of that last line is flush against main-start, the
last if there are two or more on that line will be against main-end,
with equal space between adjacent pairs of flex items. As shown in the
last example of Figure 12-23, A and G, the first items on each flex line,
are flush against main-start. F and I, the last items on each line,
are flush against main-end. The flex items are evenly distributed with
the spacing between any two adjacent items being the same on each of the
lines, but the space between flex items on the first line is narrower
than the space between flex items on the second line.
Setting justify-content: space-around evenly distributes the extra
space on the line around each of the flex items, as if there were
non-collapsing margins of equal size around each element on the
main-dimension sides. So there will be twice as much space between the
first and second item as there is between main-start and the first
item, and main-end and the last item, as shown in Figure 12-24.
If the flex items wrap onto multiple lines, the space around each flex item is based on the available space on each flex line. While the space around each element on a flex line with be the same, it might differ between lines, as shown in the last examples in Figure 12-24. The spaces between A and B and between G and H are twice the width of the spaces between the main-start edge and A and the edge and G.
If nowrap is set, and there isn’t enough room on the flex container’s
main-direction for all the flex items, the flex items will overflow
equally on both sides, similar to setting center, as shown in the
third example in Figure 12-24.
Setting justify-content: space-evenly means the user agent counts the items, adds one, and then splits any extra
space on the line by that many (i.e., if there are five items, the amount of space is split into six equal-size portions). One portion of the space is placed before each item on the line, as if it were a non-collapsing margin, and the last portion is placed after the last item on the list.
Thus, there will the same amount of space between the
first and second item as there is between main-start and the first
item, and main-end and the last item, as shown in Figure 12-25.
With the margin added to the flex items to make the examples less
hideous, this may be difficult to see. Comparing margin-free examples of
center, space-around, space-between, and space-evenly might be more helpful, so they’re shown in Figure 12-26.
Space-evenly is not currently in the flexbox specification (late 2017), but it is part of the CSS Box Alignment specification. As the flexbox specification states it must follow the CSS Box Alignment specification, it should make its way back into the flexbox spec soon. Plus, most browsers already support it.
We took advantage of the default value of justify-content in
Figure 12-2, creating a left-aligned navigation bar. By changing the default value to
justify-content: flex-end, we can right-align the navigation bar in English:
nav{display:flex;justify-content:flex-start;}
Note that justify-content is applied to the flex container. If we’d applied to the links themselves, using something like nav a {justify-content: flex-start;}, there would have been no alignment effect.
A major advantage of justify-content is that when the writing direction changes, say for right-to-left writing modes, we don’t have to alter the CSS to get the tabs where they need to go. The flex items are always grouped toward main-start when flex-start is applied; in English, main-start is on the left. For Hebrew, main-start is on the right. If flex-end is applied and the flex-direction is row, then the tabs go to the right side in English, and the left side in Hebrew, as shown
in Figure 12-27.
We could have centered that navigation, as shown in Figure 12-28:
nav{display:flex;justify-content:center;}
Whereas the justify-content defines how flex items are aligned along
the flex container’s main axis, the align-items property defines how
flex items are aligned along its flex line’s cross axis. As with justify-content, align-items is applied to flex containers, not individual flex items.
With the align-items property, you can align all the flex items in a container to the start,
end, or center of the cross axis of their flex lines.
align-items is similar to justify-content but has effects in
the perpendicular direction, setting the cross axis alignment for all
flex items, including anonymous flex items.
With align-items, you can set all the items to be placed
flush against the cross-start or cross-end of their flex line, or
stretched flush to both. Alternatively, you can center all the flex items in the
middle of the flex line. There
are five values, including flex-start, flex-end, center,
baseline, and the default stretch, as shown in Figure 12-29.
While align-items sets the alignment for all the flex items within a
container, the align-self property
enables overriding the alignment for individual flex items, as we’ll see in an upcoming section, “The align-self Property”.
In Figure 12-29, note how the flex items either hug the cross-start
or cross-end side of the flex container, are centered, or stretch to
hug both—except for baseline.
With baseline, the flex items’ baselines are aligned: the flex item
that has the greatest distance between its baseline and its
cross-start side will be flush against the cross-start edge of the
line.
That’s the general idea—and explains non-wrapping flex
containers pretty well—but there’s more to it than that.
In the multiline align-items figures that follow, the following styles have been applied:
flex-container{display:inline-flex;flex-flow:rowwrap;border:1pxdashed;}flex-item{border:1pxsolid;margin:010px;}.C,.H{margin-top:10px;}.D,.I{margin-top:20px;}.J{font-size:3rem;}
For each flex
line, the red line is cross-start and the blue is cross-end. The lines appear purple when a new flex line abuts the previous
flex line. C, H, D, and I have different values for top and bottom
margins. We’ve added a bit of margin to the sides of all the flex items
to make the figures more legible, which doesn’t affect the impact of the
align-items property in this case. J has the font size increased, increasing the
line height. This will come into play when we discuss the baseline
value.
The default is align-items: stretch, as shown in Figure 12-30.
stretch, as its name implies, stretches all stretchable flex items to be as tall or wide as the
tallest or widest flex item on the line. What does “stretchable” mean?
While by default flex items will stretch to take up 100% of the
cross-size, if min-height, min-width, max-height, max-width,
width, or height are set, those properties will take precedence. In other words, if an element has an explicitly set dimension along the cross axis, then it is not stretchable, and stretch will not affect its sizing.
Otherwise, the flex items’ cross-start will be flush with the flex line’s cross-start, and the flex items’ cross-end will be flush with the flex line’s cross-end. The flex item with the largest cross-size will remain its default size, and the other flex items will grow to the size of that largest flex item.
The size of the stretched flex item includes the margins on the cross-start and cross-end sides: it is the outer edge of the flex items’ margin that will be flush with cross-start and cross-end. This is demonstrated by items C, D, H, and I in Figure 12-31.
Their margins are the reason C, D, H, and I appear smaller than the other flex items on their flex lines. They’re not. The outer edges of the top and bottom margins are flush with the cross-starts and cross-ends of the flex lines they occupy. Those flex lines are, in turn, as tall as the tallest item on the line, or as wide as the widest item when the cross dimension is horizontal.
Flex lines are only as tall or wide as they need to be to contain their flex
items. In the five align-items figures, the line height of the flex line containing only K is much smaller
than the other two lines.
The values and effects of start, end, and center alignment are pretty straightforward, so we’ll take them all at once.
The flex-start value lines up each flex items’ cross-start edge
flush against the cross-start edge of their flex line. The flex item’s
cross-start edge is on the outside of the margin: if a flex item has a
margin that is greater than 0, flex item will not appear flush with the
flex line’s cross-start edge, as seen in flex item C, D, H, and I in the first example in
Figure 12-32.
Setting align-items: flex-end will align the cross-end edge of all
the flex items along the cross-end edge of the line they are in as
shown in the second example in Figure 12-32.
None of the flex items has a
bottom margin greater than 0 pixels, so unlike the other examples, this
example does not look jagged—all the flex items’ cross-end edges are visibly flush against the cross-end edge of each flex line.
As shown in the third example in Figure 12-32, setting align-items: center will center the flex items’ cross-size
along the middle point of the cross axis of the line. The center is
the midpoint between the outer edges of a flex item’s margin edges—remember, flex
item margins do not collapse. Because the cross-edge margins for C, D, H,
and I are not symmetrical, the flex items do not appear visibly centered along
the cross axis, even though they are: the halfway points between their top and bottom margin edges are exactly aligned with the midpoints of the flex lines in which they sit.
In LTR and RTL languages, in the
case of flex-direction: row and row-reverse, the aligned midpoint of a flex item is the
point halfway between its top and bottom margin edges. For
flex-direction: column, and column-reverse, the aligned midpoint of a flex item is the
point halfway between its left and right margin edges.
If a flex container’s cross size is constrained, the contents may overflow
the flex container’s cross-start and/or cross-end edge. The
direction of the overflow is not determined by the align-items
property, but rather by the align-content property, discussed in an upcoming section, “Aligning Content”.
align-items aligns the flex items within the flex line and does
not directly impact the overflow direction of the flex items within
the container.
The baseline value is a little more complicated. With baseline,
the flex items in each line are all aligned at their first baselines. The
flex item on each flex line with the biggest distance between its
baseline and its cross-start margin edge has that margin edge placed flush against the
cross-start edge of the line, and all other flex items’ baselines are
lined up with the baseline of that flex item.
Take a look at the second line in Figure 12-33, where J dominates.
The font size for J in this was was increased to 3rem in order to
create a flex item with a taller first line of text than the other flex items. Its top (cross-start) edge is placed against the top (cross-start) edge of the flex line. All the other flex items in the line we moved down until their first text line’s baseline is aligned with the first baseline of J. (The green line indicates the placement of this baseline.)
Now look at the first flex line, the one starting with A. You’ll notice that A, B, C, D, and E are all top-aligned, but look closer. The subtlety here is that they are not visibly flush to the top of the flex line. This happens because D has a top margin of 20 pixels. The outer edge of D’s top (cross-start) margin is flush against the cross-start of the flex line. As previously noted, the distance between the cross-start line and baseline is determined by the item on the line that has the biggest distance between its outer margin on its cross-start side and its baseline. Therefore, D’s placement (due to its top margin) becomes the baseline against which the other items in the line are aligned.
In many cases, baseline will look like flex-start. For example, had D lacked a top margin, then all the items in that first line would have been visibly flush against the top of the flex line, just as would have happened with flex-start. Whenever the items have different margins, borders, padding, font sizes, or line heights on their cross-start side, there will be a difference between flex-start and baseline.
There is one case in which baseline literally becomes flex-start, and that’s when the baselines of the flex items are parallel to the cross axis. For example, suppose we took the flex container in Figure 12-33 and changed it to flex-direction: column. Now the cross axis, like the baselines of the English text within, is horizontal. Since there’s no way to create an offset from the cross-start edge of the columns (the left side), baseline is treated exactly as if it were flex-start instead.
If you want to change the
alignment of one or more flex items, but not all, you can include the
align-self property on the flex items you would like to align
differently. The align-self takes the same values as align-items,
and is discussed in “Flex Items”.
You cannot override the alignment for anonymous flex items (non-empty
text node children of flex containers). Their align-self always
matches the value of align-items of their parent flex container.
In the align-items examples, the flex container’s cross-size was as
tall as it needed to be. No height was declared on the container, so
it defaulted to height: auto. Because of this, the flex container grew to
fit the content. You may have noticed the example flex containers were all the same height, and the flex line heights were the same across all examples.
Had the cross-size—in this case the height—been set to a specific size, there may have been extra space at cross-end, or not enough space to fit the content. Flexbox allows us to control the alignment of flex lines with the align-content property. The align-content property is the last property we need to focus on that applies to the flex container (versus the flex items). The align-content property only impacts flex line alignment in multiline flex containers.
This is jumping ahead a bit, but now is the right time to talk about the align-self property. This is used to override the align-items property
value on a per-flex-item basis.
With the align-items property set on the flex container, you
align all the flex items of that container.
You can override the alignment of any individual flex item with the
align-self property. The default value of align-items is stretch, which is why all the flex items in the five examples in Figure 12-34 are all as tall as the parent, with the exception of the second flex item.
All the flex items have the align-self’s default value of auto set, meaning they inherit the alignment (in this case, stretch) from the container’s align-items property, except the second flex item in each example. That flex item has been given the align-self value shown underneath the example.
Just as with the values of the align-items property, the flex-start value places the item at the cross-start edge. flex-end places the item at the cross-end edge. center aligns the item in the middle of the cross axis. baseline aligns the baseline of the flex item with the lowst baseline in its flex line. Finally, auto and stretch both stretch the flex items, as the align-items value was allowed to default to stretch. (Similarly, align-self: inherit would cause a stretch alignment in this case.)
To learn more about the flex-start, flex-end,
center, baseline, and stretch values, see
“Aligning Items”.
The align-content property aligns a flex container’s lines within a
flex container that has extra space in the cross-axis direction, and dictates which direction will have overflow when there is not enough room to fit the flex lines.
The align-content property dictates how any extra
cross-direction space in a flex container is distributed between and
around flex lines. Although the values and concepts are the same, align-content is different from the previously discussed align-items property, which
dictates flex item positioning within each flex line.
Think of align-content as similar to how justify-content aligns
individual items along the main axis of the flex container, but it does it for
flex lines with regard to the cross axis of the container. This property only
applies to multiline flex containers, having no effect on non-wrapping
and otherwise single-line flex containers.
Consider the following CSS as a base, and assume the flex items have no margins:
.flex-container{display:flex;flex-flow:rowwrap;align-items:flex-start;border:1pxdashed;height:480px;background-image:url(banded.svg);}.flex-items{margin:0;flow:1;}
Figure 12-35 demonstrates the seven possible values of the align-content
property, as used in conjunction with that CSS. In each example, there are three flex lines. Each flex line’s cross-start and cross-end edges are denoted by red and blue lines, respectively. The leftover space in the flex container; that is, the space between or around the flex lines, is represented by the banded regions.
With a height of 480 pixels, the flex container is taller than the default combined heights of the 3 flex lines. Let’s say the tallest items in each line—E, F, and K—are 150 pixels, 180 pixels, and 30 pixels, respectively, for a combined total of 360 pixels. Each flex container has an extra 120 pixels of free space in the cross-size direction.
With five of the align-items values, the free space is
distributed outside of the flex lines, as illustrated in
Figure 12-35. These act in the same ways the same values do for justify-content, only along the cross axis instead of the main axis (as is the case for justify-content). With
the value stretch, the extra space is evenly distributed to all the flex
lines, increasing their cross-size until their edges touch.
In the previous example, with a flex container height of 480 pixels, we have 120 pixels of “leftover” space along the
cross axis, distributed differently depending on the value of the
align-content property.
As shown in the top three examples in Figure 12-35, with
flex-start the 120 pixels is all on the cross-end side of the cross axis. With flex-end, the
extra 120 pixels of available space is all placed at the cross-start side. With
center, the lines are centered, and 60 pixels of extra space (half of 120 pixels) is placed at
cross-start and cross-end sides.
With space-between, there is 60 pixels between adjacent
pairs of flex lines. With
space-around, on the other hand, the space is evenly distributed around each line: the
120 pixels is split into 3, since there are 3 flex lines. This puts 20 pixels of non-collapsed space (half of 40 pixels) on the
cross-start and cross-end sides of each flex line, so there are 20 pixels
of extra space at the cross-start and cross-end sides of the flex
container, and 40 pixels of space between adjacent flex lines.
For space-evenly, there are four spaces to insert: one before each flex line, and an extra space after the last flex line. With three lines, that means four spaces, or 30 pixels for each space. That places 30 pixels of space at the cross-start and cross-end sides, and 30 pixels between adjecent flex lines.
The stretch value is different: with stretch the lines stretch with
the extra space evenly distributed among the flex lines rather than
between them. In this case, 40 pixels was added to each of the flex lines, causing all 3 to grow in height by an equal amount—that is, the exact same amount, not an amount proportional to each.
You’ll note in the sixth example of Figure 12-35, there is
no area within the container that is not occupied by a flex line.
stretch is the default value, as you likely want to fill all the
available space.
If there isn’t enough room for all the lines, they will overflow at
cross-start, cross-end, or both, depending on the value of the
align-content property. This is shown in Figure 12-36, where the dotted box with a light gray background represents a short flex container. (align-items: flex-start was set to make the effect of align-content more obvious.)
The only difference in the CSS between this and Figure 12-35 is the height of the flex container. Here, the flex containers have been reduced to a height of 240 pixels, so as to create flex containers not tall enough to encompass all their flex lines (which, as you may recall, total 360 pixels in height).
When the flex lines overflow the flex container, align-content: flex-start,
space-between, and stretch cause them overflow the cross-end side, whereas align-content: space-around
and center evenly overflow both the cross-end and cross-start
sides. Only align-content: flex-end causes flex lines overflow just the cross-start side.
Keep in mind that these values are not top- or bottom-centric. If the cross axis goes upward, then align-content: flex-start will start aligning flex lines from the bottom and work upward from there, potentially overflowing the top (cross-end) edge. For that matter, when the flow direction is columnar, the cross axis will be horizontal, in which case the cross-start and -end edges will be the right or left edges of the flex container.
It’s worth taking a closer look at, and thinking about how, space-between and space-around affect the alignment of flex lines.
When align-content: space-between is set, the flex lines are evenly
distributed in the flex container. This “even distribution” is based on
the available space, not the size of the lines.
If there is more than one flex
line, the first line will be flush against the container’s
cross-start, the last line will be flush against the container’s
cross-end, and any available extra space is distributed evenly between
the additional lines, if there are any. The extra space is distributed
evenly, not proportionally. The space between any two flex lines within
the flex container is equal, even if the cross-sizes of the multiple
flex lines differ.
Furthermore, the middle flex line, if there are an odd number of lines, is not necessarily
centered in the flex container, because the lines don’t necessarily all have the same cross
dimensions.
Only flex containers with multiple lines can have free space in the
cross axis for lines to be aligned in. If there is only one line, the
align-content property will not impact the distribution of the
content. In flex containers with a single line of flex items, the lone
line stretches to fill all of the available space.
Instead, the spacing between any two adjacent lines is the same. Assume 3 lines with 120 pixels total of free space, as we saw in the previous section. The first flex line goes against the cross-start edge, and the second flex line goes against the cross-end edge. That means there is one line to place between them, and two gaps. The 120 pixels of leftover space gets divided equally into 2 chunks of 60 pixels each. One 60-pixel chunk is placed between the first and second flex lines, and the other between the second and third flex lines. This is illustrated in Figure 12-37.
The space-around value distributes the lines within a multiline flex container
evenly, as if all the flex lines had equal, non-collapsing margins on
both the cross-start and cross-end sides. Because there is an equal
distribution of the extra available space around each line, the space
between the edges of the container and the first and last flex lines is
half the size of the distance between any two flex lines. The
distribution of the extra space is shown in Figure 12-37.
As of late 2017, the various alignment values like flex-start, flex-end, and so on are being made more generic: start, end, and so forth. These are part of a wider effort to make CSS more aware of writing and layout directions. An example of this is the addition of properties like margin-start and padding-end. It wasn’t quite advanced enough (or well-supported enough) to merit complete coverage in this edition, but keep an eye on these developments.
We have been, for the most part, taking a look at properties of the flex container (the exception was align-self). It’s
time to take a look at the properties directly applied to flex items.
In the previous sections, we saw how to globally lay out all the flex items within a flex container by styling that container. The flexible box layout specification provides several additional properties applicable directly to flex items. With these flex-item-specific properties, we can more precisely control the layout of individual flex containers’ children.
We create flex containers simply by adding a display: flex or
display: inline-flex to an element that has child nodes. The children
of those flex container are called flex items—whether they’re child elements,
non-empty text nodes between child elements, or generated content. Figure 12-38 shows a situation where each letter is enclosed in its own element, including the space between words, so that each letter and space becomes a flex item.
When it comes to text-node children of flex containers, if the text node
is not empty—containing content other than whitespace—it will be
wrapped in an anonymous flex item, behaving like its flex item siblings.
While these anonymous flex items do inherit all the flex properties set
by the flex container, just like their DOM node siblings, they are not
directly targetable with CSS. Therefore, we can’t directly set any of
the flex item specific properties on them. Thus, in the following markup, the two elements (the <strong> and the <em>) and the text “ they’re what’s for ” each become flex items, for a total of three flex items:
<pstyle="display: flex;"><strong>Flex items:</strong>they’re what’s for<em><br>fast!</em></p>
Generated content (via ::before and ::after) can be styled directly; therefore all the properties
discussed in this chapter apply equally to generated content as they do
to element nodes.
Whitespace-only text nodes within a flex container are ignored, as if
their display property were set to none, as the following code example shows:
navul{display:flex;}
<nav><ul><li><ahref="#1">Link 1</a></li><li><ahref="#2">Link 2</a></li><li><ahref="#3">Link 3</a></li><li><ahref="#4">Link 4</a></li><li><ahref="#5">Link 5</a></li></ul></nav>
In the preceding code, with the display property set to flex, the
unordered list is the flex container, and its child list items are all
flex items. These list items, being flex items, are flex-level boxes,
semantically still list items, but not list items in their presentation.
They are not block-level boxes either. Rather, they participate in their
container’s flex formatting context. The whitespace between and around the li elements—the line feeds and indenting tabs and/or spaces—is completely ignored. The links are not flex items themselves, but are descendants of the flex items the list items have become.
The margins of flex items do not collapse. The float and clear
properties don’t have an effect on flex items, and do not take a flex
item out of flow. In effect, float and clear are ignored when applied to flex items. (However, the float property can still affect box
generation by influencing the display property’s computed value.) Consider:
aside{display:flex;}img{float:left;}
<aside><!-- this is a comment --><h1>Header</h1><imgsrc="images/foo.jpg"alt="Foo Master">Some text</aside>
In this example, the aside is the flex container. The comment and
whitespace-only text nodes are ignored. The text node containing “some
text” is wrapped in an anonymous flex item. The header, image, and text
node containing “some text” are all flex items. Because the image is a flex
item, the float is ignored.
Even though images and text nodes are inline-level nodes, being flex items, as long as they are not absolutely positioned, they are blockified:
aside{display:flex;align-items:center;}
<aside><!-- a comment --><h1>Header</h1><imgsrc="images/foo.jpg"alt="foo master">Some text<ahref="foo.html">with a link</a>and more text</aside>
In the last example, the markup is similar to the code in the second example, with the addition of a link within the non-empty text node. In this case, we are creating five flex items. The comment and whitespace-only text nodes are ignored. The header, the image, the text node before the link, the link, and the text node after the link are all flex items. This is illustrated by Figure 12-39.
The text nodes containing “some text” and “and more text” are wrapped in anonymous flex items, represented in Figure 12-39 by the dashed boxes (the dashes having been added for illustrative purposes) with no background. The header, image, and link, being actual DOM nodes, can be styled directly with CSS. The anonymous flex containers are not directly targetable, and so will only have whatever styles they pick up from the flex container.
Additionally, vertical-align has no effect on a flex item, except as it affects the alignment of text within the flex item. In other words, setting vertical-align: bottom on a flex item will make the text inside the flex item all align to the bottoms of their line boxes, not push the flex item to the bottom of its container. (That’s what align-items and align-self are for.)
While float will not actually float a flex item,
setting position: absolute is a different story. The
absolutely positioned children of flex containers, just like any other
absolutely positioned element, are taken out of the flow of the
document.
More to the point, they do not participate in flex layout, and are not part of the document flow. However, they can be impacted by the styles set on the flex container, just as a child can be impacted by a parent element that isn’t a flex container. In addition to inheriting any inheritable properties, the flex container’s properties can affect the origin of the positioning.
The absolutely positioned child of a flex container is affected by both
the justify-content value of the flex container, and its own
align-self value, if there is one. For example, if you set
align-self: center on the absolutely positioned child, it will start out
centered with respect to the flex container parent’s cross axis. From there, it can moved by properties like top, bottom, margins, and so on.
The order property (explained in a later section, “The order property”) may not impact where the absolutely positioned flex
container child is drawn, but it does impact the order of when it is
drawn in relation to its siblings.
In Figure 12-40, you’ll note the line that is set to the nowrap default
overflows the flex container. This is because when it comes to flex
items, the implied value of min-width is auto, rather than 0.
Originally in the specification, if the items didn’t fit onto that
single main axis, they would shrink. However, the specification of
min-width was altered as applied to flex items. (Traditionally,
the default value for min-width is 0.)
If you set the min-width to a width narrower than the computed value
of auto—for example, if you declare min-width: 0—then the flex items
in the nowrap example will shrink to be narrower than their actual content (in some cases). If the items are allowed to wrap, then they will be as narrow as possible to fit their content, but no narrower. Both situations are illustrated in Figure 12-41.
While flex items’ alignment, order, and flexibility are to some extent controllable via properties set on their flex container, there are several properties that can be applied to individual flex items for more granular control.
The flex shorthand property, along with its component properties of
flex-grow, flex-shrink, and flex-basis, controls the flexibility of
the flex items. Flexibility is the amount by which a flex item can grow or shrink along the main axis.
The defining aspect of flex layout is the ability to make the flex items “flex”: altering their width or height to fill the available space in the main dimension. A flex container distributes free space to its items proportional to their flex grow factor, or shrinks them to prevent overflow proportional to their flex shrink factor. (We’ll explore these concepts momentarily.)
Declaring the flex shorthand property on a flex item, or defining the
individual properties that make up the shorthand, enables authors to
define the grow and shrink factors. If there is excess space, you can
tell the flex items to grow to fill that space. Or not. If there isn’t
enough room to fit all the flex items within the flex container at their
defined or default sizes, you can tell the flex items to shrink
proportionally to fit into the space. Or not.
This is all done with the
flex property, which is a shorthand property for flex-grow,
flex-shrink, and flex-basis. While these three sub-properties can be
used separately, it is highly recommended to always use the flex
shorthand, for reasons we’ll soon cover.
The flex property specifies the components of a flexible length: the “length” of the flex item being the length of the flex item along the
main axis (see “Understanding axes”). When a box
is a flex item, flex is consulted to determine the size of the box, instead of the main-axis size dimension property (height or width).
The “components” of the flex property include the flex growth factor,
flex shrink factor, and the flex basis.
The flex basis determines how the flex growth and shrink factors are
implemented. As its name suggests, the flex-basis component of the flex
shorthand is the basis on which the flex item determines how much it can
grow to fill available space or how much it should shrink to fit all the
flex items when there isn’t enough space. It’s the initial size of each
flex item, and can be restricted to that specific size by specifying 0
for both the growth and shrink factors:
.flexItem{width:50%;flex:00200px;}
In the preceding CSS, the flex item will have a main-axis size of
exactly 200 pixels, as the flex basis is 200px, and it is allowed to neither
grow nor shrink. Assuming that the main axis is horizontal, then the value of width (50%) is ignored. Similarly, a value for height would be ignored if the main axis were vertical.
This override of height and width occurs outside the cascade, so you can’t even override the flex basis by adding !important to the height or width value of a flex item.
If the target of a selector is not a flex item, applying the flex property to it will have no effect.
It is important to understand the three components that make up the
flex shorthand property in order to be able to use it effectively.
The flex-grow property defines whether a flex item is allowed to grow
when there is available space, and, if it is allowed to grow and there
is available space, how much will it grow proportionally relative to the
growth of other flex item siblings.
Declaring the growth factor via the flex-grow property is strongly discouraged by the authors of the specification itself. Instead, declare the
growth factor as part of the flex shorthand. We’re only discussing the property here to explore how growth works.
The value of flex-grow is always a number. Negative numbers are not valid. You can use non-integers if you like, just as long as they’re zero or greater.
The value sets the flex growth factor, which determines how much the
flex item will grow relative to the rest of the flex item siblings as
the flex container’s free space is distributed.
If there is any available space within the flex container, the space will be distributed proportionally among the children with a nonzero positive growth factor based on the various values of those growth factors.
For example, assume a 750px wide horizontal flex container with three
flex items, each set to width: 100px. That means there is a total of 300 pixels of space taken up by the flex items, leaving 450 pixels of “leftover” or available space (since 750 - 300 = 450). This is the first scenario shown in Figure 12-42. In that scenario, none of the flex items are permitted to grow.
In the second scenario in Figure 12-42, only one of the flex items (the third) has been given a growth factor. The declaration we gave it is flex-grow: 1, but it could be literally any positive number the browser can understand. In this case, with two items having no growth factor and the third having a growth factor, all of the available space is given to the flex item with a growth factor. Thus, the third flex item gets all 450 pixels of available space added to it, arriving at a final width of 550 pixels. The width: 100px applied to it elsewhere in the styles is overridden.
In the third and fourth scenarios, the same flex item widths result despite the differing flex growth factors. Let’s consider the third scenario, where the growth factors are 1, 1, and 3. The factors are all added together to get a total of 5. Each factor is then divided by that total to get a proportion. So here, the three values are each divided by five, yielding 0.2, 0.2, and 0.6.
These proportions are each multiplied by the available space to get the amount of growth. Thus:
450 px × 0.2 = 90 px
450 px × 0.2 = 90 px
450 px × 0.6 = 270 px
Those are the growth portions added to each flex item’s starting width of 100 pixels. Thus, the final widths are 190 pixels, 190 pixels, and 370 pixels, respectively.
The fourth scenario has the same result, because the proportions are the same. Imagine for a moment that we altered the growth factors to be 0.5, 1, and 1.5. Now the math works out such that the first flex item gets one-sixth of the available space, the second gets a third, and the third gets half. This results in the flex items’ final widths being 175, 250, and 425 pixels, respectively. Had we declared growth factors of 0.1, 0.1, and 0.3, or 25, 25, and 75, or really any combination of numbers with a 1:1:3 correspondence, the result would have been identical.
As noted in “Minimum Widths”, if no width or flex basis is set, the flex basis defaults to auto,
meaning each flex item basis is the width of its nonwrapped content.
auto is a special value: it defaults to content unless the item has a
width set on it, at which point the flex-basis becomes that width. The
auto value is discussed in “Automatic Flex Basis”. Had we not set
the width, in this example scenario, with our smallish font size, we
would had more than 450 pixels of distributable space along the main axis.
The main-axis size of a flex item is impacted by the available space, the growth factor of all the flex items, and the flex basis of the item. We have yet to cover flex basis, but that time is coming soon!
Now let’s consider a case where the flex items have different width values, as well as different growth factors. In Figure 12-43, in the second example, we have flex items that are 100 pixels, 250 pixels, and 100 pixels wide, with growth factors of 1, 1, and 3, respectively, in a container that is 750 pixels wide. This means we have 300 pixels of extra space
to distribute among a total of 5 growth factors (since 750 - 450 = 300).
Each growth factor is therefore 60 pixels (300 ÷ 5).
This means the first and second flex items, with a flex-grow
value of 1, will each grow by 60 pixels. The last flex item will grow by 180 pixels, since its flex-grow value is 3.
To recap, the available space in the flex container, and the growth factors and final width of each flex item, are:
When flexed, the width of the flex items, based on their original width and growth factors, become:
which adds up to 750 pixels.
The flex property takes up to three values—the growth factor, shrink
factor, and basis. The first positive non-null numeric value, if there is
one, sets the growth factor (i.e., the flex-grow value).
When the growth and shrink factors are omitted in the flex value, the growth factor defaults to 1.
However, if neither flex nor flex-grow are declared, the growth factor defaults to 0. Yes, really.
Recall the second example in Figure 12-42, where the flex growth factors were 0, 0, and 1.
Because we declared a value for flex-grow only, the flex
basis was set to auto, as if we had declared:
#example2flex-item{flex:01auto;}#example2flex-item:last-child{flex:11auto;}
So that means the first two flex items had no growth factor, a shrink factor, and a flex basis of auto. Had we used flex in the examples in Figure 12-42 instead of ill-advisedly using flex-grow, the flex basis in each case
would be set to 0%, as if this had been done:
#example2flex-item{flex:010%;}#example2flex-item:last-child{flex:110%;}
As the shrink factor defaults to 1 and the basis defaults to 0%, the
following CSS is identical to the preceding snippet:
#example2flex-item{flex:0;}#example2flex-item:last-child{flex:1;}
This would have the result shown in Figure 12-44. Compare this to Figure 12-42 to see how things have changed (or not).
You may notice something odd in the first two scenarios: the flex basis been set to zero, and only the last flex item in the second scenario has a positive value for flex grow. Logic would seem that the widths of the 3 flex items should be 0, 0, and 750 pixels, respectively. But logic would also dictate that it makes no sense to have content overflowing its flex item if the flex container has the room for all the content, even if the basis is set to 0.
The specification authors thought of this quandary. When the flex
property declaration explicitly sets or defaults the flex-basis to 0%
and a flex item’s growth factor is 0, the length of the main axis of
the non-growing flex items will shrink to the smallest length the content
allows, or smaller. In Figure 12-44, that minimum length is the width of the widest sequence of letters, “flex:” (including the colon).
As long as a flex item has a visible overflow and no explicitly set value for
min-width (or min-height for vertical main-axes), the minimum width (or
minimum height) will be the smallest width (or height) that the flex item
needs to be to fit the content or the declared width (or height),
whichever is smaller.
If all items are allowed to grow, and the flex basis for each flex item
is 0%, then all of the space, rather than just excess
space, is distributed proportionally based on the growth factors.
In the third example in Figure 12-44,
two flex items have growth factors of one, and one flex item has a growth factor of three. We thus have a total of five growth factors:
With 5 growth factors, and a total of 750 pixels, each growth factor is worth 150 pixels:
While the default flex item size was 100 pixels, the flex basis of 0% overrides that, leaving us with 2 flex items at 150 pixels each and the last flex item with a width of 450 pixels:
Similarly, in the last example of Figure 12-44, with two flex items having growth factors of 0.5, and one flex item having a growth factor of 1.5, we have a total of 2.5 growth factors:
With 2.5 grows factors, and a total of 750 pixels, each growth factor is worth 300 pixels:
While the default flex item size was 100 pixels, the flex basis of 0% overrides that, leaving us with 2 flex items at 150 pixels each and the last flex item with a width of 450 pixels:
Again, this is different from declaring only flex-grow, because that means the flex basis defaults to auto. In that case, only the extra space, not all the space, is distributed
proportionally. When using flex, on the other hand, the flex basis is set to 0%, so the flex items grow in proportion to the total space, not just the leftover space. The difference is illustrated in Figure 12-45.
Now let’s talk about flex shrinking factors, which are in some ways the inverse of flex growth factors, but are in other ways different.
The <flex-shrink> portion of the flex shorthand property specifies the
flex shrink factor. It can also be set via the flex-shrink property.
Declaring the shrink factor via the flex-shrink property is strongly discouraged by the authors of the specification itself. Instead, declare the
shrink factor as part of the flex shorthand. We’re only discussing the property here in order to explore how shrinking works.
The shrink factor determines how much a flex item
will shrink relative to the rest of its flex-item siblings when there
isn’t enough space for them all to fit, as defined by their content and
other CSS properties. When omitted in the shorthand flex property value or when both flex
and flex-shrink are omitted, the shrink factor defaults to 1. Like the
growth factor, the value of flex-shrink is always a number. Negative numbers are not valid. You can use non-integer values if you like, just as long as they’re greater than zero.
Basically, the shrink factor defines how “negative available space” is distributed when there isn’t enough room for the flex items and the flex container isn’t allowed to otherwise grow or wrap. This is illustrated in Figure 12-46.
Figure 12-46 is similar to Figure 12-42, except the
flex items are set to width: 300px instead of 100 pixels. We still have a 750-pixels-wide flex
container. The total width of the 3
items is 900 pixels, meaning the content starts out 150 pixels wider than the parent flex
container. If the items are not allowed to shrink or
wrap (see “Wrapping Flex Lines”), they will burst out from the
fixed-size flex container. This is demonstrated in the first example in
Figure 12-46: those items will not shrink because they have a zero shrink factor.
Instead, they overflow the flex container.
In the second example in Figure 12-46, only the last flex item is set to be
able to shrink.
The last flex item is thus forced to do all the shrinking necessary to enable all the flex items to
fit within the flex container. With 900 pixels worth of content needing to fit
into our 750-pixel container, we have 150 pixels of negative available space. The 2 flex items with no shrink factor stay at 300 pixels wide. The third flex item,
with a positive value for the shrink factor, shrinks 150
pixels, to end up 150 pixels wide. This enables the 3 items to fit within the
container. (In this example the shrink factor was 1, but had it been
0.001 or 100 or 314159.65 or any other positive number the browser could understand, the result would be the same.)
In the third example, we have positive shrink factors for all three flex items:
#example3flex-item{flex-shrink:1;}#example3flex-item:last-child{flex-shrink:3;}
As this is the only one of the three flex shorthand properties we declared, this means the flex items will behave as if we had declared the following:
#example3flex-item{flex:01auto;/* growth defaults to 0, basis to auto */}f#example3flex-item:last-child{flex:03auto;}
If all items are allowed to shrink, as is the case here, the shrinking is distributed proportionally based on the shrink factors. This means the larger a flex item’s shrink factor, as compared to the shrink factors of its sibling flex items, the more the item will shrink in comparison.
With a parent 750 pixels wide, and 3 flex items with a width of 300 pixels, there are 150 “negative space” pixels that need to be shaved off the flex items that are allowed to shrink (which is all of them in this example). With two flex items having a shrink factor of 1, and one flex item having a shrink factor of 3, we have a total of five shrink factors:
With 5 shrink factors, and a total of 150 pixels needing to be shaved off all the flex items, each shrink factor is worth 30 pixels:
The default flex item size was 300 pixels, leading us to have 2 flex items with a width of 270 pixels each and the last flex item having a width of 210 pixels, which totals 750 pixels:
The following CSS produces the same outcome: while the numeric representation of the shrink factors are different, they are proportionally the same, so the flex item widths will be the same:
flex-item{flex:10.25auto;}flex-item:last-child{flex:10.75auto;}
Note that the flex items in these examples will shrink to 210, 210, and 270 pixels, respectively, as long as the content (like media objects or non-wrappable text) within each flex item is not wider than 210, 210, or 270 pixels, respectively. If the flex item contains content that cannot wrap or otherwise shrink in the main-dimension, the flex item will not shrink any further.
Suppose that the first flex items contain a 300-pixels-wide image. That first flex item can not shrink, and other flex items can shrink, therefore it will not shrink, as if it had a null shrink factor. In this case, the first item would be 300 pixels, with the 150 pixels of negative space distributed proportionally based on the shrink factors of the second and third flex items.
That being the case, we have 4 unimpeded shrink factors (one from the second flex item, and three from the third) for 150 pixels of negative space, with each shrink factor being worth 37.5 pixels. The flex items will end up 300, 262.5, and 187.5 pixels respectively, for a total of 750 pixels. The result is illustrated in Figure 12-47:
Had the image been 296 pixels wide, that first flex item would have been able to shrink by 4 pixels. The remaining 146 pixels of negative space would then be distributed the among the 4 remaining shrink, yielding 36.5 pixels per factor. The flex items would then be 296, 263.5, and 190.5 pixels wide, respectively.
If all three flex items contained non-wrappable text or media 300 pixels or wider, the none of the three flex items would not shrink, appearing similar to the first example in Figure 12-46.
The preceding code examples were fairly simple because all the flex items started with the same width. But what if the widths were different? What if the first and last flex items had a width of 250 pixels and the middle flex item had a width of 500 pixels, as shown in Figure 12-48?
Flex items shrink proportionally relative to both the shrink factor and the flex item’s width, with the width often being the width of the flex item’s content with no wrapping. In Figure 12-48, we are trying to fit 1,000 pixels into a 750 pixels-width flex container. We have an excess of 250 pixels to be removed from 5 shrink factors.
If this were a flex-grow situation, we would simply
divide 250 pixels by 5, allocating 50 pixels per growth factor.
If we were to shrink that way, we would get flex items 200, 550, and 100 pixels
wide, respectively. But that’s not how shrinking actually works.
Here, we have 250 pixels of negative space to proportionally distribute. To get the shrink factor proportions, we divide the negative space by the total of the flex items’ widths (more precisely, their lengths along the main axis) times their shrink factors:
Using this equation, we find the shrink percentage:
When we reduce each flex item by 16.67% times the value of flex-shrink, we end up with flex items that are reduced by:
Each reduction is then subtracted from the starting sizes of 250, 500, and 250 pixels, respectively. We thus end up with flex items that are 208.33, 416.67, and 125 pixels wide.
With zero shrink factor, if both the width and flex basis of a flex item
at auto, its content will not wrap, even when you think it should.
Conversely, any positive shrink value enables content to wrap.
Because shrinking is proportional based on shrink factor, if all the flex items have similar shrink factors, the content should wrap over a similar number of lines.
In the three examples shown in
Figure 12-49, the flex items do not have a declared width. Therefore, the width
is based on the content, because width defaults to auto. The flex container has been made 520 pixels wide, instead of of our usual 750 pixels.
Note that in the first example, where all the items have the same flex-shrink value, all content wraps over four lines.
In the second example, the first flex item has a shrink factor half of
value of the other flex items, so it wraps the content over (roughly) half the number of lines. This is the power of the shrink factor.
In the third example, with no shrink factor, the text doesn’t wrap at all and the flex items overflow the container by quite a bit.
As of late 2017, this “line-balancing” and refusal-to-wrap behavior was not consistent across browsers. If you see different results when trying this out for yourself, that may be why.
Because the flex property’s shrink factor reduces the width of flex
items proportionally, the number of lines of text in the flex items will
grow or shrink as the width shrinks or grows, leading to similar height
content within sibling flex items when the shrink factors are similar.
In the examples, take the contents of the flex items to be 280, 995, and 480 pixels, respectively—which is the width of the non-wrapping flex items in the third example (as measured by the developer tools, then rounded to make this example a little simpler). This means we have to fit 1,755 pixels of content into a 520 pixels-wide flex container by shrinking the flex items proportionally based on their shrink factor. This means we have 1,235 pixels of negative available space to proportionally distribute.
Remember that you can’t rely on web inspector tools to figure out shrink factors for production. We’re going through this exercise to understand how shrink factors work. If minutia isn’t your thing, feel free to jump to “The flex-basis Property”.
In our first example, the flex items will end up with the same, or approximately the same, number of text lines. This is because flex items shrink proportionally, based on the width of their content.
We didn’t declare any widths, and therefore can’t simply use an explicit element width as the basis for our calculations, as we did in the previous examples. Rather, we distribute the 1,235 pixels of negative space proportionally based on the widths of the content—280, 995, and 480 pixels, respectively. We determine 520 is 29.63% of 1,755. To determine the width of each flex item with a shrink factor of 1, we multiply the content width of each flex item by 29.63%:
With the default of align-items: stretch (see “Aligning Items”),
a three-column layout will have three columns of equal height.
By using a consistent shrink factor for all flex items, you can indicate that
the actual content of these three flex items should be of approximately equal height—though,
by doing this, the widths of those columns will not necessarily be uniform.
In the second example in Figure 12-49, the flex items don’t all have the same shrink factor. The first flex item will, proportionally, shrink half as much as the others. We start with the same widths: 280, 995, and 480 pixels, respectively, but their shrink factors are 0.5, 1.0, and 1.0. As we know the widths of the content, the shrink factor (X) can be found mathematically:
We can find the final widths now that we know the shrink factor. If the
shrink factor is 76.47%, it means that item2 and item3 will be shrink by that amount, whereas item1 will shrink by 38.23% (because its flex-shrink value is half the others). The amount of shrinkage in each case is, rounded off to the nearest whole number:
Thus, the final widths of the flex items is:
The total combined widths of these 3 flex items is 520 pixels.
Adding in varying shrink and growth factors makes it all a little less
intuitive. That’s why you likely want to always declare the flex
shorthand, preferably with a width or basis set for each flex item.
If this doesn’t make sense yet, don’t worry; we’ll cover a few more
examples of shrinking as we discuss flex-basis.
Allowing flex items to shrink proportionally like this allows for responsive objects and layouts that can shrink proportionally without breaking.
For example, you can create a three-column layout that smartly grows and shrinks without media queries, as shown on a wide screen in Figure 12-50 and narrow screen in Figure 12-51:
nav{flex:01200px;min-width:150px;}article{flex:12600px;}aside{flex:01200px;min-width:150px;}
In this example, if the viewport is greater than 1,000 pixels, only the middle column grows because only the middle column was provided with a positive growth factor. We also dictated that below the 1,000-pixels-wide mark, the columns all shrink.
Let’s take it bit by bit. The nav and aside elements have the following CSS:
flex:01200px;min-width:150px;
This means they don’t grow from their basis, but they can shrink at equal rates. This means they’ll have the width of their flex basis by default. If they do need to shrink, they’ll shrink down to a minimum width of 150px and then stop shrinking. However, if either one has an element that’s more than 150 pixels wide, whether it’s an image or a run of text, it will stop shrinking as soon as it reaches the width of that bit of content. Suppose a 180-pixel image got dropped into the aside element. It would stop shrinking as soon as it reached 180 pixels wide. The nav would keep shrinking down to 150 pixels.
The main element, on the other hand, has these styles:
flex:12600px;
Thus, the main element can grow if there’s space for it to do so. Since it’s the only flex item that can grow, it gets all the growth. That means that, given a browser window 1,300 pixels wide, the two side columns will be 200 pixels wide each, leaving 900 pixels of width for the center column. In shrinking situations, the center column will shrink twice as fast as the other two elements. Thus, if the browser window is 900 pixels wide, the side columns will each be 175 pixels wide, and the center column 550 pixels wide.
Once the windows reaches 800 pixels wide, the side columns will reach their min-width values of 150px. From then on, any narrowing will all be taken up by the center column.
Just to be clear, you are not require to use pixels in these situation. You don’t even have to use the same unit measures for various flex bases. The previous example could be rewritten like this:
nav{flex:0120ch;min-width:15vw;}article{flex:1245ch;}aside{flex:0120ch;min-width:10ch;}
We won’t go through all the math here, but the general approach is to set flex bases on character widths for improved readability, with some lower limits based on character widths and others on viewport width.
Flexbox can be useful for one-dimensional page layout like the one shown in this section, where there are only three columns in a line. For anything more complex, or for a more powerful set of options, use Grid layout. (See Chapter 13.)
As we’ve already seen, a flex item’s size is impacted by its content and
box-model properties and can be reset via the three components of the
flex property. The <flex-basis> component of the flex property
defines the initial or default size of flex items, before extra or
negative space is distributed—before the flex items are allowed to
grow or shrink according to the growth and shrink factors. It can also be set via the flex-basis property.
Declaring the flex basis via the flex-basis property is strongly discouraged by the authors of the specification itself. Instead, declare the
flex basis as part of the flex shorthand. We’re only discussing the property here in order to explore flex basis.
The flex basis determines the size of a flex item’s element box, as set by
box-sizing. By default, when a block-level element is not a flex item,
the size is determined by the size of its parent, content, and box-model
properties. When no size properties are explicitly declared or
inherited, the size defaults to its individual content, border, and
padding, which is 100% of the width of its parent for block-level
elements.
The flex basis can be defined using the same length value types as the
width and height properties; for example, 5vw, 12%, and 300px.
The universal keyword initial resets the flex basis to the initial value of auto, so you might as well declare auto.
In turn, auto evaluates to the width (or height), if declared. If the value of width (or height) is set to auto, then the value of flex-basis is evaluated to content.
The content keyword is
not supported in most browsers at the time of this writing (late 2017), with the exception of Microsoft Edge 12+, but is equal to the width or height of the content. When content is used and supported, the basis is the size of the flex item’s content; that is, the length of the main-axis size of the longest line of content or widest (or tallest) media object.
Until support is complete, flex-basis: content; can be easily
polyfilled, as it is the equivalent of declaring
flex-basis: auto; width: auto; on that flex item, or
flex-basis: auto; height: auto; if the main-dimension is vertical.
Unfortunately, using content in the flex shorthand in nonsupporting
browsers invalidates the entire declaration (see “Understanding axes”).
The value of content is basically what we saw in the third example in
Figure 12-49, and is shown in Figure 12-52.
In the first and third examples in Figure 12-52, the width of the flex item is the size of the content; and the flex basis is that same size. In the first example, the flex items’ width and basis are approximately 132 pixels. The total width of the 3 flex items side by side is 396 pixels, fitting easily into the parent container.
In the third example, we have set a null shrink factor (0): this means the
flex items cannot shrink, so they won’t shrink or wrap to fit into the
fixed-width flex container. Rather, they are the width of their
nonwrapped text. That width is also the value of the flex basis. The flex
items’ width and basis are approximately 309, 1,037 pixels, and 523 pixels, respectively. You can’t see the full width of the second flex item or the third flex item at all, but they’re in the chapter files.
The second example contains the same content as the third example, but the flex items are defaulting to a shrink factor of 1, so the text in this example wraps because the flex items can shrink. Thus, while the width of the flex item is not the width of the content, the flex basis—the basis by which it will proportionally shrink—is the width of the items’ contents.
When set to auto, whether explicitly or by default,
flex-basis is the same as the main-axis size of
the element, had the element not been turned into a flex item. For length
values, flex-basis resolves to the width or height value, with
the exception that when the value of the width or height is auto,
the flex basis value falls back to content.
When the flex basis is auto, and all the flex items can fit within the parent
flex container, the flex items will be their pre-flexed size.
If the flex items don’t fit into their parent flex container, the flex items
within that container will shrink proportionally based on their
non-flexed main-axis sizes (unless the shrink factor is zero).
When there are no other properties setting the main-axis size of the flex items
(that is, there’s no width or even min-width set on these flex items), and
flex-basis: auto or flex: 0 1 auto is set, the flex items will
only be as wide as they need to be for the content to fit, as seen in the
first example in Figure 12-53. In this case, they are the width of the text
“flex-basis: auto;”, which is approximately
110 pixels. The flex items are their pre-flexed size, as if set to
display: inline-block. In this example, they’re grouped at
main-start because
the flex
container’s justify-content defaults to flex-start.
In the second example in Figure 12-53, each of the flex items has flex basis
of auto and an explicitly declared width. The main-axis size of the elements, had they
not been turned into flex items, would be 100, 150, and 200 pixels, respectively. And so they are here, since they fit into the flex container without any overflow along the main axis.
In the third example in Figure 12-53, each of the flex items has flex basis
of auto and a very large explicitly declared width. The main-axis size of the elements, had they
not been turned into flex items, would be 2,000, 3,000, and 4,000 pixels, respectively. Since they could not possibly fit into the flex container without overflowing along the main axis, and their flex shrink factors have all defaulted to 1, they shrink until they fit into the flex container. You can do the math to find out how big they are using the process outlined in a previous section; as a hint, the third flex item should be reduced from four thousand pixels down to a width of 240 pixels.
When neither a flex-basis nor a flex is set, the flex item’s main-axis size is
the pre-flex size of the item, as their default value is auto.
In Figure 12-54, two things are happening: the flex bases are defaulting to auto, the growth factor is defaulting to 0, and the shrink factor of each item is defaulting to 1.
For each flex item, the flex basis is their individual width value. That
means the flex bases are being set to the values of the width properties:
100, 200, and 300 pixels in the first example, and 200, 400, and 200 pixels
in the second example.
As the combined widths of the flex items are 600 pixels and 800 pixels, respectively, both of which are both greater than the main-axis size of the 540-pixel-wide containers, they are all shrinking proportionally to fit.
In the first example, we are trying to fit 600 pixels in 540 pixels, so each flex item will shrink by 10% to yield flex items that are 90, 180, and 270 pixels wide. In the second example, we are trying to fit 800 pixels into 540 pixels, so they all shrink 32.5%, making the flex items’ widths 135, 270, and 135 pixels.
In the previous examples, the auto flex bases defaulted to the declared widths of
the various flex items. There are other options; for example, we can use the same length units for our
flex-basis value as we do for width and height.
When there are both flex-basis and width (or height, for vertical main axes) values, the basis trumps the
width (or height). Let’s add bases values to the first example from
Figure 12-54. The flex items include the
following CSS:
flex-container{width:540px;}item1{width:100px;flex-basis:300px;/* flex: 0 1 300px; */}item2{width:200px;flex-basis:200px;/* flex: 0 1 200px; */}item3{width:300px;flex-basis:100px;/* flex: 0 1 100px; */}
The widths are overridden by the bases. The flex items shrink down to 270 pixels, 180 pixels, and 90 pixels, respectively. Had the container not had a constrained width, the flex items would have been 300 pixels, 200 pixels, and 100 pixels, respectively.
While the declared flex basis can override the main-axis size of flex items, the
size can be affected by other properties, such as min-width,
min-height, max-width, and max-height. These are not ignored. Thus, for example, an element might have flex-basis: 100px and min-width: 500px. The minimum width of 500px will be respected, even though the flex basis is smaller.
Percentage values for flex-basis are calculated relative to the size of the main
dimension of the flex container.
We’ve already seen the first example in Figure 12-56; it’s included here
to recall that the width of the text “flex-basis: auto” in this case is approximately 110 pixels wide. In
this case only, declaring flex-basis: auto looks the same as writing flex-basis: 110px:
flex-container{width:540px;}flex-item{flex:01100%;}
In the second example in Figure 12-56, the first two flex items have a flex basis of
auto with a default width of auto, which is as if their flex basis were set to content. As we’ve noted previously, the flex-basis of the first 2 items ends up being the equivalent of 110 pixels, as the content in this case happens to be 110 pixels wide.
The last item has its flex-basis set to 100%.
The percentage value is relative to the parent, which is 540 pixels.
The third flex item, with a basis of 100%, is not
the only flex item within the non-wrapping flex container. Thus, it will not
grow to be 100% of the width of the parent flex container unless its
shrink factor is set with a null shrink factor, meaning it can’t shrink, or if it contains non-wrappable content that is as wide or wider than the parent
container.
Remember: when the flex basis is a percent value, the main-axis size is relative to the parent, which is the flex container.
With our 3 flex bases, if the content is indeed 110 pixels wide, and the container is 540 pixels wide (ignoring other box-model properties for simplicity’s sake), we have a total of 760 pixels to fit in a 540-pixel space. Thus we have 220 pixels of negative space to distribute proportionally. The shrink factor is:
Each flex item will be shrunk by 28.95%, becoming 71.05% of the width they would have been had they not been allowed to shrink. We can figure the final widths:
These numbers hold true as long as the flex items can be that small; that is, as long as none of the flex items contain media or nonbreaking text wider than 78.16 pixels or 383.68 pixels. This is the widest these flex items will be as long as the content can wrap to be that width or narrower. We say “widest” because if one of the other two flex items can’t shrink to be as narrow as this value, they’ll have to absorb some of that negative space.
In the third example in Figure 12-56, the flex-basis: auto item wraps over three lines. The CSS for this example is the equivalent of:
flex-container{width:540px;}item1{flex:0170%;}item2{flex:01auto;}item3{flex:0180%;}
We declared the flex-basis of the 3 flex items to be 70%,
auto, and 80%, respectively. Remembering that in our scenario auto is the width of the non-wrapping content, which in this case is approximately 110 pixels, and our flex container is 540 pixels, the bases are
equivalent to:
When we add the widths of these 3 flex items’ bases, they have total combined width of 920 pixels, which needs to fit into a flex container 540 pixels wide. Thus we have 380 pixels of negative space to remove proportionally among the 3 flex items. To figure out the ratio, we divide the available width of our flex container by the sum of widths of the flex items that they would have if they couldn’t shrink:
Because the shrink factors are all the same, this is fairly simple. Each item will be 58.7% of the width it would be if it had no flex item siblings:
What happens when the container is a different width? Say, 1,000 pixels? The flex basis would be 700 pixels (70% × 1,000 pixels), 110 pixels, and 800 pixels (80% × 1,000 pixels), respectively, for a total of 1,610 pixels:
Because with a basis of 70% and 80%, the combined bases of the flex items will always be wider than 100%, no matter how wide we make the parent, all 3 items will always shrink.
If the first flex item can’t shrink for some reason—whether due to unshrinkable content, or another bit of CSS setting its flex-shrink to 0— it will be 70% of the width of the parent—378 pixels in this case.
The other 2 flex items must shrink proportionally to fit into the remaining 30%, or
162 pixels. In this case, we expect widths to be 378 pixels, 32.875 pixels, and
129.125 pixels. As the text “basis:” is wider than that—assume 42 pixels—we get 378 pixels, 42 pixels, and 120 pixels. This result is shown in Figure 12-57.
Testing this out on your device will likely have slightly different results, as the width of the text “flex-basis: auto” may not be the same for you, depending on the font that actually gets used to render the text. (We used Myriad Pro, with fallbacks to Helvetica and any generic sans-serif font.)
If neither the flex-basis property nor the flex shorthand is
included at all, the flex basis defaults to auto. When the flex property is
included, but the flex basis component of the shorthand is omitted from the
shorthand, the basis defaults to 0. While on the surface you
might think the two values of auto and 0 are similar, the 0
value is actually very different, and may not be what you expect.
In the case of flex-basis: auto, the basis is the main size of the flex items’ contents. If the basis of each of the flex items is 0, the “available” space is the main-axis size of the entire flex container. In either case, the “available” space is distributed proportionally, based on the growth factors of each flex item.
In the case of a basis of 0, the size of the flex container is divided up and distributed proportionally to each flex item based on their growth factors—their default original main-axis size as defined by height, width, or content, is not taken into account, though min-width, max-width, min-height, and max-height do impact the flexed size.
As shown in Figure 12-58, when the basis is auto, it is just the extra space that is divided up proportionally and added to each flex item set to grow. Again, assuming the width of the text “flex: X X auto” is 110 pixels, in the first examples we have 210 pixels to distribute among 6 growth factors, or 35 pixels per growth factor. The flex items are 180, 145, and 215 pixels wide, respectively.
In the second example, when the basis is 0, all 540 pixels of the width is distributable space. With 540 pixels of distributable space between 6 growth factors, each growth factor is worth 90 pixels. The flex items are 180, 90, and 270 pixels wide, respectively. While the middle flex item is 90 pixels wide, the content in this example is narrower than 110 pixels, so the flex item didn’t wrap.
Now that we have a fuller understanding of the properties that make up
the flex shorthand, remember: always use the flex shorthand.
It accepts the usual global property values, including initial, auto, none; and the use of an integer, usually 1, meaning the flex item can grow.
Let’s go over all these values.
The common flex values are four flex values providing the most commonly desired effects:
flex: initialThis value sizes flex items based on the width or height property, depending on the main-axis direction, while allowing shrinking.
flex: autoThis flex value also sizes flex items based on the width or height property, but makes them fully flexible, allowing both shrinking and growing.
flex: noneThis value again sizes flex items based on the width or height property, but makes them completely inflexible: they can’t shrink or grow.
flex: <number>This value sets the flex item’s growth factor to the <number> provided. It thus sets the shrink factor to 0, and the basis to 0 as well. This means the width or height value acts as a minimum size, but the flex item will grow if there is room to do so.
Let‘s consider each of these in turn.
initial is a global CSS keyword, which means initial can be used on all properties to represent a property’s initial value; that is, its specification default value. Thus, the following lines are equivalent:
flex:initial;flex:01auto;
Declaring flex: initial sets a null growth factor, a shrink factor of
1, and sets the flex bases to auto. In Figure 12-59, we can see the
effect of the auto flex bases. In the first two examples, the basis of each flex item is content—with each flex item having the width of the single line of
letters that make up their content. In the last 2
examples, the flex bases of all the items are equal at 50 pixels, since
width: 50px has been applied to all the flex items. The flex: initial
declaration sets the flex-basis to auto, which we previously saw is the value of the width (or height), if declared, or content if not declared.
In the first and third examples in Figure 12-59, we see that when the flex
container is too small to fit all the flex items at their default
main-axis size, the flex items shrink so that all the flex items fit within the parent flex container. In these examples, the combined flex bases of all the flex items is greater than the main-axis size of the flex container. In the first example, the width of teach flex item varies based on the width of each item’s content and its ability to shrink. They all shrink proportionally based on their shrink factor, but not narrower than their widest content. In the third example, with each flex item’s flex-basis being 50 pixels (due to the value of width), all the items shrink equally.
Flex items, by default, are grouped at main start, as flex-start is
the default value of for the justify-content property. This is only
noticeable when the combined main-axis sizes of the flex items in a flex line are smaller than the main-axis size of the flex container, and none of the flex items are able to grow.
flex: auto is similar to flex: initial, but makes the flex items
flexible in both directions: they’ll shrink if there isn’t enough room
to fit all the items within the container, and they’ll grow to take up
all the extra space within the container if there is distributable
space. The flex items absorb any free space along the main axis.
The following two statements are equivalent:
flex:auto;flex:11auto;
A variety of scenarios using auto flexing are shown in Figure 12-60.
The first and third examples of Figure 12-60 are identical to
the examples in Figure 12-59, as the shrinking and bases are the same.
However, the second and fourth examples are different. This is because when
flex: auto is set, the growth factor is 1, and the flex items therefore can grow to incorporate all the extra available space.
Any flex: none flex items are inflexible: they can neither
shrink nor grow.
The following two lines of CSS are equivalent:
flex:none;flex:00auto;
The effects of none are shown in Figure 12-61.
As demonstrated in the first and third examples of Figure 12-61, if there
isn’t enough space, the flex items overflow the flex container. This is
different from flex: initial and flex: auto, which both set a
positive shrink factor.
The basis resolves to auto, meaning each flex item’s main-axis size is determined by the main-axis size of the element had it not been turned into a flex item. The flex-basis resolves to the width or height value of the element. If that value is auto, the basis becomes the main-axis size of the content. In the first two examples, the basis—and the width, since there is no growing or shrinking—is the width of the content. In the third and fourth examples, the width and basis are all 50 pixels, because that’s the value of the width property applied to them.
When the value of the flex property is a single, positive numeric value, that value will be used for the growth factor, while the shrink factor will default to 1 and the basis will default to 0.
The following two CSS declarations are equivalent:
flex:3;flex:310;
This makes
the flex item on which it is set flexible: it can grow. The shrink
factor is actually moot: the flex basis is set to 0, so the flex item can only grow from that basis.
In the first two examples in Figure 12-62, all the flex items have a flex growth factor of 3. The flex basis is 0, so they don’t “shrink”; they just grew equally from zero pixels wide until the sum of their main-axis sizes grew to fill the container along the main axis. With all the flex items having a basis of 0, 100% of the main dimension is distributable space. The main-axis size of the flex items are wider in this second example because the wider flex container has more distributable space.
Any numeric value that is greater than 0, even 0.1, means the flex item can grow. When there is available space to grow, if only one flex item has a positive growth factor, that item will take up all the available space. If there are multiple flex items that can grow, the available extra space will be distributed proportionally to each flex item based on to their growth factor.
In the last three examples of Figure 12-62, there are six flex items with
flex: 0, flex: 1, flex: 2, flex: 3, flex: 4, and flex: 5
declared, respectively. These are the growth factors for the flex
items, with each having a shrink factor of 1 and a flex basis of 0. The main-axis size of each is proportional to the specified flex growth factor. You might assume that the flex: 0 item with the text “flex: 0” in the third and fourth examples will be zero pixels wide, like in the fourth and fifth examples—but, by default, flex items won’t shrink below the length of the longest word or fixed-size element.
Flex items are, by default, displayed and laid out in the same order as
they appear in the source code. The order of flex items and flex lines can be reversed with flex-direction, but sometimes you want a little more complicated rearrangment. The order property can be used to
change the ordering of individual flex items.
By default, all flex items are assigned the order of 0, with the flex
items all assigned to the same ordinal group and displayed in the same order as their source order, along the
direction of the main axis. (This has been the case for all the examples seen throughout this chapter.)
To change the visual order of a flex item, set the order property
value to a nonzero integer. Setting the order property on elements
that are not children of a flex container has no effect on such elements.
The value of the order property specifies an ordinal group to which the flex
item belongs. Any flex items with a negative value will appear to
come before those defaulting to 0 when drawn to the page, and all the
flex items with a positive value will appear to come after those
defaulting to 0. While visually altered, the source order remains the
same. Screen readers and tabbing order remains as defined by the source
order of the HTML.
For example, if you have a group of 12 items, and you want the 7th to come first and the 6th to be last, you would declare:
ul{display:inline-flex;}li:nth-of-type(6){order:1;}li:nth-of-type(7){order:-1;}
In this scenario, we are explicitly setting the order for the sixth and
seventh list items, while the other list items are defaulting to order: 0. The result is shown in Figure 12-63.
The seventh flex item is the first to be laid out, due to the
negative value of the order property, which is less
than the default 0, and is also the lowest value of any of its sibling flex
items. The sixth flex item is the only item with a value greater than zero, and
therefore has the highest order value out of all of its siblings. This is why it’s laid out after all the other flex items.
All the other items, all having the default
order of 0, are drawn between those first and last
items, in the same order as their source order, since they are all
members of the same ordinal group (0).
The flex container lays out its content in order-modified document order, starting from the lowest numbered ordinal group and going up. When you have multiple flex items having the same value for the order property, the items share an ordinal group. The items in each ordinal group will appear in source order, with the group appearing in numeric order, from lowest to highest. Consider the following:
ul{display:inline-flex;background-color:rgba(0,0,0,0.1);}li:nth-of-type(3n-1){order:3;background-color:rgba(0,0,0,0.2);}li:nth-of-type(3n+1){order:-1;background-color:rgba(0,0,0,0.4);}
By setting the same order value to more than one flex item, the items
will appear by ordinal group, and by source order within each individual
ordinal group. This has the result shown in Figure 12-64.
Here’s what happened:
Items 2, 5, 8, and 11 were selected to share ordinal group 3, and get a 20% opaque background.
Items 1, 4, 7, and 10 were selected to share ordinal group -1, and get a 40% opaque background.
Items 3, 6, 9, and 12 were not selected at all. They default to the ordinal group 0.
The three ordinal groups, then, are -1, 0, and 3. The groups are arranged in that order. Within each group, the items are arranged by source order.
This reordering is purely visual. Screen readers should read the document as it appeared in the source code, though they may not. As a visual change, ordering flex items impacts the painting order of the page: the painting order of the flex items is the order in which they appear, as if they were reordered in the source document, even though they aren’t.
Changing the layout with the order property has no effect on the tab
order of the page. If the numbers in Figure 12-64 were links, tabbing through
the links would go through the links in the order of the source code, not
in the order of the layout.
Adding to our tabbed navigation bar example in Figure 12-2, we can make the currently active tab appear first, as Figure 12-65 shows:
nav{display:flex;justify-content:flex-end;border-bottom:1pxsolid#ddd;}a{margin:05px;padding:5px15px;border-radius:3px3px00;background-color:#ddd;text-decoration:none;color:black;}a:hover{background-color:#bbb;text-decoration:underline;}a.active{order:-1;background-color:#999;}<nav><ahref="/">Home</a><ahref="/about">About</a><aclass="active">Blog</a><ahref="/jobs">Careers</a><ahref="/contact">ContactUs</a></nav>
The currently active tab has the .active class added, the href
attribute removed, and the order set to -1, which is less than the
default 0 of the other sibling flex items, meaning it appears first.
Why did we remove the href attribute? As the tab is the currently
active document, there is no reason for the document to link to itself.
But, more importantly, if it was an active link instead of a placeholder
link, and the user was using the keyboard to tab through the navigation,
the order of appearance is Blog, Home, About, Careers, and
Contact Us, with the Blog appearing first; but the tab order would
have been Home, About, Blog, Careers, and Contact Us, following
the source order rather than the visual order, which can be confusing.
The order property can be used to enable marking up the main content
area before the side columns for mobile devices and those using screen
readers and other assistive technology, while creating the appearance of
the common three-column layout: a center main content area, with site navigation
on the left and a sidebar on the right, as shown way back in Figure 12-50.
While you can put your footer before your header in your markup, and use
the order property to reorder the page, this is an inappropriate use
of the property. order should only be used for visual reordering
of content. Your underlying markup should always reflect the logical
order of your content:
<header></header><header></header><main><main><article></article><nav></nav><aside></aside><article></article><nav></nav><aside></aside></main></main><footer></footer><footer></footer>
We’ve been marking up websites in the order we want them to appear, as
shown on the right in the preceding code example, which is the same code as
in our three-column layout example (Figure 12-50). It really would make more sense if we marked up the page as shown
on the left, with the article content, which is the main content,
first in the source order: this puts the article first for screen
readers, search engines, and even mobile device, but in the middle for
our sighted users on larger screens:
main{display:flex;}main>nav{order:-1;}
By using the order: -1 declaration we are able to make the nav
appear first, as it is the lone flex item in the ordinal group of -1.
The article and aside, with no order explicitly declared, default
to order: 0.
Remember, when more than one flex item is in the same ordinal group,
the members of that group are displayed in source order in the direction
of main-start to main-end, so the article is displayed before the
aside.
Some developers, when changing the order of at least one flex item, like
to give all flex items an order value for better markup readability.
We could have also written:
main{display:flex;}main>nav{order:1;}main>article{order:2;}main>aside{order:3;}
In previous years, before browsers supported flex, all this could have
been done with floats: we would have set float: right on the nav.
While doable, flex layout makes it much simpler, especially if we want
all three columns—the aside, nav, and article—to be of equal
heights.
For as long as CSS has existed—which is, believe it or not, two decades
now—it’s had a layout-shaped hole at its center. We’ve bent other
features to the purposes of layout, most notably float and clear,
and generally hacked our way around that hole. Flexbox layout helped to
fill it, but flexbox is really meant for only specific use cases, like
navigation bars (navbars).
Grid layout, by contrast, is a generalized layout system. With its emphasis on rows and columns, it might at first feel like a return to table layout—and in certain ways that’s not too far off—but there is far, far more to grid layout than table layout. Grid allows pieces of the design to be laid out independently of their document source order, and even overlap pieces of the layout, if that’s your wish. There are powerfully flexible methods for defining repeating patterns of grid lines, attaching elements to those grid lines, and more. You can nest grids inside grids, or for that matter, attach tables or flexbox containers to a grid. And much, much more.
In short, grid layout is the layout system we’ve long waited for. There’s a lot to learn, and perhaps even more to unlearn, as we leave behind the clever hacks and workarounds that have gotten us through the past 20 years.
The first step to creating a grid is defining a grid container. This is much like a containing block in positioning, or a flex container in flexible-box layout: a grid container is an element that defines a grid formatting context for its contents.
At this very basic level, grid layout is actually quite reminiscent of flexbox. For example, the child elements of a grid container become grid items, just as the child elements of a flex container become flex items. The children of those child elements do not become grid elements—although any grid item can itself be made a grid container, and thus have its child elements become grid items to the nested grid. It’s possible to nest grids inside grids, until it’s grids all the way down. (Grid layout also has a separate concept of subgrids that is distinct from nesting grid containers, but we’ll get to that later.)
There are two kinds of grids: regular grids and inline grids. These are
created with special values for the display property: grid and
inline-grid. The first generates a block-level box, and the second an
inline-level box. The difference is illustrated in Figure 13-1.
These are very similar to the block and inline-block values for
display. Most grids you create are likely to be block-level, though
the ability to create inline grids is always there.
Although display: grid creates a block-level grid, the specification
is careful to explicitly state that “grid containers are not block
containers.” What this means is that although the grid box participates
in layout much as a block container does, there are a number of
differences between them.
First off, floated elements do not intrude into the grid container. What this means in practice is that a grid will not slide under a floated element, as a block container will do. See Figure 13-2 for a demonstration of the difference.
Furthermore, the margins of a grid container do not collapse with the margins of its descendants. Again, this is distinct from block boxes, whose margins do (by default) collapse with descendants. For example, the first list item in an ordered list may have a top margin, but this margin will collapse with the list element’s top margin. The top margin of a grid item will never collapse with the top margin of its grid container. Figure 13-3 illustrates the difference.
There are a few CSS properties and features that do not apply to grid containers and grid items; specifically:
All column properties (e.g., column-count, columns, etc.) are
ignored when applied to a grid container.
The ::first-line and ::first-letter pseudo-elements do not apply
to grid containers and are ignored.
float and clear are effectively ignored for grid items (though not
grid containers). Despite this, the float property still helps
determine the computed value of the display property for children of a
grid container, because the display value of the grid items is
resolved before they’re made into grid items.
The vertical-align property has no effect on grid items, though it
may affect the content inside the grid item. (There are other, more
powerful ways to align grid items, so don’t worry.)
Lastly, if a grid container’s declared display value is inline-grid
and the element is either floated or absolutely positioned, the
computed value of display becomes grid (thus dropping
inline-grid).
Once you’ve defined a grid container, the next step is to set up the grid within. Before we explore how that works, though, it’s necessary to cover some terminology.
We’ve already talked about grid containers and grid items, but let’s
define them in a bit more detail. As was said before, a grid container
is a box that establishes a grid-formatting context; that is, an area
in which a grid is created and elements are laid out according the rules
of grid layout instead of block layout. You can think of it the way an
element set to display: table creates a table-formatting context
within it. Given the grid-like nature of tables, this comparison is
fairly apt, though be sure not to make the assumption that grids are
just tables in another form. Grids are far more powerful than tables
ever were.
A grid item is a thing that participates in grid layout within a grid-formatting context. This is usually a child element of a grid container, but it can also be the anonymous (that is, not contained within an element) bits of text that are part of an element’s content. Consider the following, which has the result shown in Figure 13-4:
#warning{display:grid;background:#FCC;padding:0.5em;grid-template-rows:1fr;grid-template-columns:repeat(7,1fr);}<pid="warning"><imgsrc="warning.svg"><strong>Note:</strong>Thiselementisa<em>gridcontainer</em>withseveral<em>griditems</em>insideit.</p>
Notice how each element, and each bit of text between them, has become a grid item. The image is a grid item, just as much as the elements and text runs—seven grid items in all. Each of these will participate in the grid layout, although the anonymous text runs will be much more difficult (or impossible) to affect with the various grid properties we’ll discuss.
If you’re wondering about grid-template-rows and
grid-template-columns, we’ll tackle them in the next section.
In the course of using those properties, you’ll create or reference several core components of grid layout. These are summarized in Figure 13-5.
The most fundamental unit is the grid line. By defining the placement of one or more grid lines, you implicitly create the rest of the grid’s components:
A grid track is a continuous run between two adjacent grid lines—in other words, a grid column or a grid row. It goes from one edge of the grid container to the other. The size of a grid track is dependent on the placement of the grid lines that define it. These are analogous to table columns and rows. More generically, these can be referred to as block axis and inline axis tracks, where (in Western languages) column tracks are on the block axis and row tracks are on the inline axis.
A grid cell is any space bounded by four grid lines, with no grid lines running through it, analogous to a table cell. This is the smallest unit of area in grid layout. Grid cells cannot be directly addressed with CSS grid properties; that is, no property allows you to say a grid item should be associated with a given cell. (But see the next point for more details.)
A grid area is any rectangular area bounded by four grid lines, and made up of one or more grid cells. An area can be as small as a single cell, or as large as all the cells in the grid. Grid areas are directly addressable by CSS grid properties, which allow you to define the areas and then associate grid items with them.
An important thing to note is that these grid tracks, cells, and areas are entirely constructed of grid lines—and more importantly, do not have to correspond to grid items. There is no requirement that all grid areas be filled with an item; it is perfectly possible to have some or even most of a grid’s cells be empty of any content. It’s also possible to have grid items overlap each other, either by defining overlapping grid areas or by using grid-line references that create overlapping situations.
Another thing to keep in mind is that you can define as many or as few grid lines as you wish. You could literally define just a set of vertical grid lines, thus creating a bunch of columns and only one row. Or you could go the other way, creating a bunch of row tracks and no column tracks (though there would be one, stretching from one side of the grid container to the other).
The flip side to that is if you create a condition where a grid item can’t be placed within the column and row tracks you define, or if you explicitly place a grid item outside those tracks, new grid lines and tracks will be automatically added to the grid to accommodate.
It turns out that placing grid lines can get fairly complex. That’s not so much because the concept is difficult; there are just so many different ways to get it done, and each uses its own subtly different syntax.
We’ll get started by looking at two closely related properties.
With these properties, you can define the grid lines in your overall grid template, or what the CSS specification calls the explicit grid. Everything depends on these grid lines; fail to place them properly, and the whole layout can very easily fall apart.
When you’re starting out with CSS grid layout, it’s probably a very good idea to sketch out where the grid lines need to be on paper first, or in some close digital analogue. Having a visual reference for where lines should be, and how they should behave, will make writing your grid CSS a lot easier.
The exact syntax patterns for <track-list> and <auto-track-list> are complex and nest a few layers deep, and unpacking them would take a lot of time and space that’s better devoted to just exploring how things work. There are a lot of ways to specify your grid lines’ placement, so before we get started on learning those patterns, there are some basic things to establish.
First, grid lines can always be referred to by number, and can also be
named by the author. Take the grid shown in Figure 13-6, for example. From your CSS, you can use any of the numbers to refer to a grid line, or you
can use the defined names, or you can mix them together. Thus, you could
say that a grid item stretches from column line 3 to line steve, and
from row line skylight to line 2.
Note that a grid line can have more than one name. You can use any of them to refer to a given grid line, though you can’t combine them the way you can multiple class names. You might think that means it’s a good idea to avoid repeating grid-line names, but that’s not always the case, as we’ll soon see.
I used intentionally silly grid-line names in Figure 13-6 to illustrate
that you can pick any name you like, and also to avoid the implication
that there are “default” names. If you’d seen start for the first
line, you might have assumed that the first line is always called that.
Nope. If you want to stretch an element from start to end, you’ll
need to define those names yourself. Fortunately, that’s simple to do.
As I’ve said, many value patterns can be used to define the grid template. We’ll start with the simpler ones and work our way toward the more complex.
Our first step is to create a grid whose grid tracks are a fixed width. We don’t necessarily mean a fixed length like pixels or ems; percentages also count as fixed-width here. In this context, “fixed-width” means the grid lines are placed such that the distance between them does not change due to changes of content within the grid tracks.
So, as an example, this counts as a definition of three fixed-width grid columns:
#grid{display:grid;grid-template-columns:200px50%100px;}
That will place a line 200 pixels from the start of the grid container (by default, the left side); a second grid line half the width of the grid container away from the first; and a third line 100 pixels away from the second. This is illustrated in Figure 13-7.
While it’s true that the second column can change in size if the grid container’s size changes, it will not change based on the content of the grid items. However wide or narrow the content placed in that second column, the column’s width will always be half the width of the grid container.
It’s also true that the last grid line doesn’t reach the right edge of the grid container. That’s fine; it doesn’t have to. If you want it to—and you probably will—we’ll see various ways to deal with that in just a bit.
This is all lovely, but what if you want to name your grid lines? Just place any grid-line name you want, and as many as you want, in the appropriate place in the value, surrounded by square brackets. That’s all! Let’s add some names to our previous example, with the result shown in Figure 13-8:
#grid{display:grid;grid-template-columns:[startcol-a]200px[col-b]50%[col-c]100px[stopendlast];}
What’s nice is that adding the names makes clear that each value is actually specifying a grid track’s width, which means there is always a grid line to either side of a width value. Thus, for the three widths we have, there are actually four grid lines created.
Row grid lines are placed in exactly the same way as columns, as Figure 13-9 shows:
#grid{display:grid;grid-template-columns:[startcol-a]200px[col-b]50%[col-c]100px[stopendlast];grid-template-rows:[startmasthead]3em[content]80%[footer]2em[stopend];}
There are a couple of things to point out here. First, there are
both column and row lines with the names start and end. This is
perfectly OK. Rows and columns don’t share the same namespace, so you
can reuse names like these in the two contexts.
Second is the percentage value for the content row track. This is
calculated with respect to the height of the grid container; thus, a
container 500 pixels tall would yield a content row that’s 400 pixels
tall. This requires that you know ahead of time how tall the
grid container will be, which won’t always be the case.
You might think we could just say 100% and have it fill out the space,
but that doesn’t work, as Figure 13-10 illustrates: the content row track
will be as tall as the grid container itself, thus pushing the footer
row track out of the container altogether:
#grid{display:grid;grid-template-columns:[startcol-a]200px[col-b]50%[col-c]100px[stopendlast];grid-template-rows:[startmasthead]3em[content]100%[footer]2em[stopend];}
One way (not necessarily the best way) to handle this scenario is to
minmax the row’s value, telling the browser that you want the row no
shorter than one amount and no taller than another, leaving the browser to fill
in the exact value. This is done with the minmax(a,b) pattern, where
a is the minimum size and b is the maximum size:
#grid{display:grid;grid-template-columns:[startcol-a]200px[col-b]50%[col-c]100px[stopendlast];grid-template-rows:[startmasthead]3em[content]minmax(3em,100%)[footer]2em[stopend];}
What we’ve said there is to make the content row never shorter than
3 ems tall, and never taller than the grid container itself. This allows
the browser to bring up the size until it’s tall enough to fit the space
left over from the masthead and footer tracks, and no more.
It also allows the browser to make it shorter than that, as long as it’s
not shorter than 3em, so this is not a guaranteed result. Figure 13-11 shows one possible outcome of this approach.
In like fashion, with the same caveats, minmax() could have been
used to help the col-b column fill out the space across the grid
container. The thing to remember with minmax() is that if the max is
smaller than the min, then the max value is thrown out and the min
value is used as a fixed-width track length. Thus, minmax(100px, 2em)
would resolve to 100px for any font-size value smaller than 50px.
If the vagueness of minmax()’s behavior unsettles you, there are
alternatives to this scenario. We could also have used the calc()
value pattern to come up with a track’s height (or width). For example:
grid-template-rows:[startmasthead]3em[content]calc(100%-5em)[footer]2em[stopend];
That would yield a content row exactly as tall as the grid container
minus the sum of the masthead and footer heights, as we saw in the
previous figure.
That works as far as it goes, but is a somewhat fragile solution, since
any changes to the masthead or footer heights will also require an
adjustment of the calculation. It also becomes a lot more difficult (or
impossible) if you want more than one column to flex in this fashion. As
it happens, there are much more robust ways to deal with this sort of
situation, as we’ll soon see.
Thus far, all our grid tracks have been inflexible—their size determined by a length measure or the grid container’s dimensions, but unaffected by any other considerations. Flexible grid tracks, by contrast, can be based on the amount of space in the grid container not consumed by inflexible tracks, or alternatively, can be based on the actual content of the entire track.
If you want to divide up whatever space is available by some fraction
and distribute the fractions to various columns, the fr unit is here
for you.
In the simplest case, you can divide up the whole container by equal fractions. For example, if you want four columns, you could say:
grid-template-columns:1fr1fr1fr1fr;
In this very limited case, that’s equivalent to saying:
grid-template-columns:25%25%25%25%;
The result either way is shown in Figure 13-12.
Now suppose we want to add a fifth column, and redistribute the column
size so they’re all still equal. With percentages, we’d have to rewrite
the entire value to be five instances of 20%. With fr, though, we
can just add another 1fr to the value and have everything done for us
automatically:
grid-template-columns:1fr1fr1fr1fr1fr;
The way fr units work is that all of the fr values are added
together, with the available space divided by that total. Then each
track gets the number of those fractions indicated by its number.
What that meant for the first of the previous examples is that when
there were four fr values, their numbers were added together to get a
total of four. The available space was thus divided by four, and each
column got one of those fourths. When we added a fifth 1fr, the space
was divided by five, and each column got one of those fifths.
You are not required to always use 1 with your fr units! Suppose you
want to divide up a space such that there are three columns, with the
middle column twice as wide as the other two. That would look like this:
grid-template-columns:1fr2fr1fr;
Again, these are added up and then 1 is divided by that total, so the base fr in this case
is 0.25. The first and third tracks are thus 25% the width of the
container, whereas the middle column is half the container’s width,
because it’s 2fr, which is twice 0.25, or 0.5.
You aren’t limited to integers, either. A recipe card for apple pie could be laid out using these columns:
grid-template-columns:1fr3.14159fr1fr;
I’ll leave the math on that one as an exercise for the reader. (Lucky
you! Just remember to start with 1 + 3.14159 + 1, and you’ll have a
good head start.)
This is a convenient way to slice up a container, but there’s more here than just replacing percentages with something more intuitive. Fractional units really come into their own when there are some fixed columns and some flexible space. Consider, for example, the following, which is illustrated in Figure 13-13:
grid-template-columns:15em1fr10%;
What happened there is the browser assigned the first and third
tracks to their inflexible widths, and then gave whatever was left in
the grid container to the center track. This means that for a 1,000-pixel-wide grid container whose font-size
is the usual browser default of 16px, the first column will be 240
pixels wide and the third will be 100 pixels wide. That totals 340
pixels, leaving 660 pixels that weren’t assigned to the fixed tracks. The
fractional units total one, so 660 is divided by one, yielding 660
pixels, all of which are given to the single 1fr track. If the grid
container’s width is increased to 1,400 pixels, the third column will be
140 pixels wide and the center column 1,020 pixels wide.
Just like that, we have a mixture of fixed and flexible columns. We can keep this going, splitting up any flexible space into as many fractions as we like. Consider this:
width:100em;grid-template-columns:15em4.5fr3fr10%;
In this case, the columns will be sized as shown in Figure 13-14.
The widths of the columns will be, from left to right: 15em, 45em, 30em, and 10em. The first column gets its fixed width of 15em. The last column is 10% of 100 em, which is 10 em. That leaves 75 em to distribute among the flexible columns. The two added together total 7.5 fr. For the wider column, 4.5 ÷ 7.5 equals 0.6, and that times 75 em equals 45 em. Similarly, 3 ÷ 7.5 = 0.4, and that times 75 em equals 30 em.
Yes, admittedly, I put a thumb on the scales for that example: the fr
total and width value were engineered to yield nice, round numbers for
the various columns. This was done purely to aid understanding. If
you want to work through the process with less tidy numbers, consider
using 92.5em or 1234px for the width value in the previous
example.
In cases where you want to define a minimum or maximum size for a given
track, minmax() can be quite useful. To extend the
previous example, suppose the third column should never be less than 5em
wide, no matter what. The CSS would then be:
grid-template-columns:15em4.5frminmax(5em,3fr)10%;
Now the layout will have two flexible columns at its middle, down to the
point that the third column reaches 5em wide. Below that point, the
layout will have three inflexible columns (15em, 5em, and 10% wide,
respectively) and a single flexible column that will get all the
leftover space, if there is any. Once you run the math, it turns out
that up to 30.5556em wide, the grid will have one flexible column. Above
that width, there will be two such columns.
You might think that this works the other way—for example, if you wanted
to make a column track flexible up to a certain point, and then become
fixed after, you would declare a minimum fr value.
This won’t work, sadly, because fr units are not allowed in
the min position of a minmax() expression. So any fr value provided
as a minimum will invalidate the declaration.
Speaking of setting to zero, let’s look at a situation where the
minimum value is explicitly set to 0, like this:
grid-template-columns:15em1frminmax(0,500px)10%;
Figure 13-15 illustrates the narrowest grid width at which the third column
can remain 500 pixels wide. Any narrower, and the minmaxed column will
be narrower than 500 pixels. Any wider, and the second column, the fr column,
will grow beyond zero width while the third column stays at 500 pixels wide.
If you look closely, you’ll see the 1fr label next to the boundary
between the 15em and minmax(0,500px) columns. That’s there because the 1fr
is placed with its left edge on the second column grid line, and has no width,
because there is no space left to flex. Similarly, the minmax is placed
on the third column grid line. It’s just that, in this specific situation, the
second and third column grid lines are in the same place (which is why the
1fr column has zero width).
If you ever run into a case where the minimum value is greater than the
maximum value, then the whole thing is replaced with the minimum value.
Thus, minmax(500px,200px) would be treated as a simple 500px. You
probably wouldn’t do this so obviously, but this feature is useful when
mixing things like percentages and fractions. Thus, you could have a
column that’s minmax(10%,1fr) that would be flexible down to the point
where the flexible column was less than 10% of the grid container’s width,
at which point it would stick at 10%.
Fractional units and minmaxes are usable on rows just as easily as columns; it’s just that rows are rarely sized in this way. You could easily imagine setting up a layout where the masthead and footer are fixed tracks, while the content is flexible down to a certain point. That might look something like this:
grid-template-rows:3emminmax(5em,1fr)2em;
That works OK, but it’s a lot more likely that you’ll want to size that row by the height of its content, not some fraction of the grid container’s height. The next section shows exactly how to make that happen.
It’s one thing to set up grid tracks that take up fractions of the space
available to them, or that occupy fixed amounts of space. But what if
you want to line up a bunch of pieces of a page and you can’t guarantee
how wide or tall they might get? This is where min-content and
max-content come in.
What these keywords mean is simple to state, but not necessarily simple
to describe in full. max-content means, in effect, “take up the
maximum amount of space needed for this content.” For large blocks of
text (like a blog post), this would generally mean taking as much room
as is available, to maximize the space for that
content. It can also mean “as wide as necessary to avoid any line-wrapping,” which can be very wide, given normal paragraphs of text.
min-content, by contrast, means “take up the bare minimum space needed
for this content.” With text, that means squeezing the width down to the
point that the longest word (or widest inline element, if there are
things like images or form inputs) sits on a line by itself. That would
lead to a lot of line breaks in a very skinny, very tall grid element.
What’s so powerful about these sizing keywords is that they apply to the
entire grid track they define. For example, if you size a column to be
max-content, then the entire column track will be as wide as the
widest content within it. This is easiest to illustrate with a grid of
images (12 in this case) with the grid declared as follows and
shown in Figure 13-16:
#gallery{display:grid;grid-template-columns:max-contentmax-contentmax-contentmax-content;grid-template-rows:max-contentmax-contentmax-content;}
Looking at the columns, we can see that each column track is as wide as the widest image within that track. Where a bunch of portrait images happened to line up, the column is more narrow; where a landscape image showed up, the column was made wide enough to fit it. The same thing happened with the rows. Each row is as tall as the tallest image within it, so wherever a row happened to have all short images, the row is also short.
The advantage here is that this works for any sort of content, no matter what’s in there. So let’s say we add captions to the photos. All of the columns and rows will resize themselves as needed to handle both text and images, as shown in Figure 13-17.
This isn’t a full-fledged design—the images are out of place,
and there’s no attempt to constrain the caption widths. In fact, that’s
exactly what we should expect from max-content values for the column
widths. Since it means “make this column wide enough to hold all its
content,” that’s what we got.
What’s important to realize is that this will hold even if the grid
tracks have to spill out of the grid container. That means that even if
we’d assigned something like width: 250px to the grid container, the
images and captions would be laid out just the same. That’s why things
like max-content tend to appear in minmax() statements. Consider the
following, where grids with and without minmax() appear side by side.
In both cases, the grid container is represented by an orange
background (see Figure 13-18):
#g1{display:grid;grid-template-columns:max-contentmax-contentmax-contentmax-content;}#g2{display:grid;grid-template-columns:minmax(0,max-content)minmax(0,max-content)minmax(0,max-content)minmax(0,max-content);}
In the first instance, the grid items completely contain their contents,
but they spill out of the grid container. In the second, the minmax()
directs the browser to keep the columns within the range of 0 and
max-content, so they’ll all be fitted into the grid container if
possible. A variant on this would be to declare
minmax(min-content, max-content), which can lead to a slightly different
result than the 0, max-content approach.
The reason that some images are overflowing their cells in the second example is that the tracks have been fitted into the grid container according to minmax(0,max-content). They can’t reach max-content in every track, but they can get as close as possible while all still fitting into the grid container. Where the contents are wider than the track, they just stick out of it, overlapping other tracks. This is standard grid behavior.
If you’re wondering what happens if you min-content both the columns
and the rows, it’s pretty much the same as applying min-content to the
columns and leaving the rows alone. This happens because the grid
specification directs browsers to resolve column sizing first, and row
sizing after that.
There’s one more keyword you can use with grid track sizing, which is
auto. As a minimum, it’s treated as the minimum size for the grid
item, as defined by min-width or min-height. As a maximum, it’s
treated the same as max-content. You might think this means it can
be used only in minmax() statements, but this is not the case. You can
use it anywhere, and it will take on either a minimum or maximum role.
Which one it takes on depends on the other track values around it, in
ways that are frankly too complicated to get into here. As with so many
other aspects of CSS, using auto is essentially letting the browser do
what it wants. Sometimes that’s fine, but in general you’ll probably
want to avoid it.
There is a caveat to that last statement: auto values allow
grid items to be resized by the align-content and justify-content
properties, a topic we’ll discuss in a later section, “Aligning and Grids”. Since auto
values are the only track-sizing values that permit this, there may be
very good reasons to use auto after all.
In addition to the min-content and max-content keywords, there’s a fit-content() function that allows you to more compactly express certain types of sizing patterns. It’s a bit complicated to decipher, but the effort is worth it:
fit-content() accepts a <length> or a <percentage> as its argument, like this:
#grid{display:grid;grid-template-columns:1frfit-content(150px)2fr;}#grid2{display:grid;grid-template-columns:2frfit-content(50%)1fr;}
Before we explore what that means, let’s ponder the pseudo-formula given by the specification:
fit-content(argument) => min(max-content, max(min-content, argument))
which means, essentially, “figure out which is greater, the min-content sizing or the supplied argument, and then take that result and choose whichever is smaller, that result or the max-content size.” Which is probably confusing! It certainly was to me, the first 17 times I worked through it.
I feel like a better way of phrasing it is: “fit-content(argument) is equivalent to minmax(min-content,max-content), except that the value given as an argument sets an upper limit, similar to max-width or max-height.” Let’s consider this example:
#example{display:grid;grid-template-columns:fit-content(50ch);}
The argument here is 50ch, or about 50 characters wide. So we’re setting up a single column that’s having its content fit to that measure.
For the initial case, assume the content is only 29 characters long, measuring 29ch (due to it being in a monospace font). That means the value of max-content is 29ch, and the column will be only that wide, because it minimizes to that measure—29ch is smaller than whatever the maximum of 50ch and min-content turns out to be.
Now, let’s assume a bunch of text content is added so that there are 256 characters measuring 256ch in width. That means max-content evaluates to 256ch. This is well beyond the 50ch argument, so the column is constrained to be the larger of min-content and 50ch, which is 50ch.
As further illustration, consider the results of the following, as shown in Figure 13-19:
#thefollowing{display:grid;grid-template-columns:fit-content(50ch)fit-content(50ch)fit-content(50ch);font-family:monospace;}
Notice the first column is narrower than the other two. Its 29ch content minimizes to that size. The other two columns have more content than will fit into 50ch, so they line-wrap, because their width has been limited to 50ch.
Now let’s consider what happens if an image is added to the second column. We’ll make it 500px wide, which is wider than 50ch in this instance. For that column, the maximum of min-content and 50ch is determined. As we said, the larger value there is min-content, which is to say 500px (the width of the image). Then the minimum of 500px and max-content is determined. The text, rendered as a single line, would go on past 500px, so the minimum is 500px. Thus, the second column is now 500 pixels wide. This is depicted in Figure 13-20.
If you compare Figure 13-19 to Figure 13-20, you’ll see that the text in the second column wraps at a different point, due to the change in column width. But also compare the text in the the third column. It, too, has different line-wraps.
That happened because after the first and second columns were sized, the third column had a bit less than 50ch of space in which to be sized. fit-content(50ch) still did its thing, but here, it did so within the space available to it. Remember, the 50ch argument is an upper bound, not a fixed size.
This is one of the great advantages of fit-content() over the less flexible minmax(). It allows you to shrink tracks down to their minimum content-size when there isn’t much content, while still setting an upper bound on the track size when there’s a lot of content.
You’ve probably been wondering about the repetitive grid template values in previous examples, and what happens if you need more than three or four grid tracks. Will you have to write out every single track width individually? Indeed not, as we’ll see in the next section.
If you have a situation where you want to set up a bunch of grid tracks of the same size,
you probably don’t want to have to type out every single one of them.
Fortunately, repeat() is here to make sure you don’t have to.
Let’s say we want to set up a column grid line every 5 ems, and have 10 column tracks. Here’s how to do that:
#grid{display:grid;grid-template-columns:repeat(10,5em);}
That’s it. Done. Ten column tracks, each one 5em wide, for a total of
50 ems of column tracks. It sure beats typing 5em 10 times!
Any track-sizing value can be used in a repeat, from min-content and
max-content to fr values to auto, and so on, and you can put
together more than one sizing value. Suppose we want to define a column
structure such that there’s a 2em track, then a 1fr track, and then
another 1fr track—and, furthermore, we want to repeat that pattern
three times. Here’s how to do that, with the result shown in Figure 13-21:
#grid{display:grid;grid-template-columns:repeat(3,2em1fr1fr);}
Notice how the last column track is a 1fr track, whereas the first
column track is 2em wide. This is an effect of the way the repeat()
was written. It’s easy to add another 2em track at the end, in order
to balance things out, just by making this change:
#grid{display:grid;grid-template-columns:repeat(3,2em1fr1fr)2em;}
See that extra 2em at the end of the value? That adds one more column
track after the three repeated patterns. This highlights the fact that
repeat can be combined with any other track-sizing values—even other
repeats—in the construction of a grid. The one thing you can’t do is
nest a repeat inside another repeat.
Other than that, just about anything goes within a repeat() value.
Here’s an example taken straight from the grid specification:
#grid{display:grid;grid-template-columns:repeat(4,10px[col-start]250px[col-end])10px;}
In this case, there are four repetitions of a 10-pixel track, a named
grid line, a 250-pixel track, and then another named grid line. Then,
after the four repetitions, a final 10-pixel column track. Yes, that
means there will be four column grid lines named col-start, and
another four named col-end, as shown in Figure 13-22. This is acceptable; grid-line names are not required to be unique.
One thing to remember, if you’re going to repeat named lines, is that if you place two named lines next to each other, they’ll be merged into a single, double-named grid line. In other words, the following two declarations are equivalent:
grid-template-rows:repeat(3,[top]5em[bottom]);grid-template-rows:[top]5em[bottomtop]5em[topbottom]5em[bottom];
If you’re concerned about having the same name applied to multiple grid lines, don’t be: there’s nothing preventing it, and it can even be helpful in some cases. We’ll explore ways to handle such situations in an upcoming section, “Using Column and Row Lines”.
There’s even a way to set up a simple pattern and repeat it until the
grid container is filled. This doesn’t have quite the same complexity as
regular repeat()—at least not yet—but it can still be pretty handy.
For example, suppose we want to have the previous row pattern repeat as many times as the grid container will comfortably accept:
grid-template-rows:repeat(auto-fill,[top]5em[bottom]);
That will define a row line every 5 ems until there’s no more room. Thus, for a grid container that’s 11 ems tall, the following is equivalent:
grid-template-rows:[top]5em[bottomtop]5em[bottom];
If the grid container’s height is increased past 15 ems, but is less than 20 ems, then this is an equivalent declaration:
grid-template-rows:[top]5em[bottomtop]5em[topbottom]5em[bottom];
See Figure 13-23 for examples of the auto-filled rows at three different grid container heights.
The limitation with auto-repeating is that it can take only an optional
grid-line name, a fixed track size, and another optional grid-line name.
So [top] 5em [bottom] represents about the maximum value pattern. You
can drop the named lines and just repeat 5em, or just drop one of the
names. It’s not possible to repeat multiple fixed track sizes, nor can
you repeat flexible track sizes. (Which makes sense: how many times
would a browser repeat 1fr to fill out a grid container? Once.)
You might wish you could auto-repeat multiple track sizes in order to define “gutters” around your content columns. This is usually unnecessary because grids have a concept of (and properties to define) track gutters, which we’ll cover in an upcoming section, “Opening Grid Spaces”.
Furthermore, you can have only one auto-repeat in a given track template. Thus, the following would not be permissible:
grid-template-columns:repeat(auto-fill,4em)repeat(auto-fill,100px);
However, you can combine fixed-repeat tracks with auto-fill tracks. For example, you could start with three wide columns, and then fill the rest of the grid container with narrow tracks (assuming there’s space for them). That would look something like this:
grid-template-columns:repeat(3,20em)repeat(auto-fill,2em);
You can flip that around, too:
grid-template-columns:repeat(auto-fill,2em)repeat(3,20em);
That works because the grid layout algorithm assigns space to the fixed tracks first, and then fills up whatever space is left with auto-repeated tracks. The end result of that example is to have one or more auto-filled 2-em tracks, and then three 20-em tracks. Two examples of this are shown in Figure 13-24.
With auto-fill, you will always get at least one repetition of the track template, even if it
won’t fit into the grid container for some reason. You’ll also get as
many tracks as will fit, even if some of the tracks don’t have content
in them. As an example, suppose you set up an auto-fill that placed five
columns, but only the first three of them actually ended up with grid items
in them. The other two would remain in place, holding open layout space.
If you use auto-fit, on the other hand, then tracks that don’t
contain any grid items will be dropped. Otherwise, auto-fit acts the same as auto-fill. Suppose the following:
grid-template-columns:repeat(auto-fit,20em);
If there’s room for five column tracks in the grid container (i.e., it’s
more than 100 ems wide), but two tracks don’t have any grid items to go
into them, those empty grid tracks will be dropped, leaving the three
column tracks that do contain grid items. The leftover space is handled
in accordance with the values of align-content and justify-content
(discussed in the upcoming section, “Aligning and Grids”). A simple comparison of auto-fill and auto-fit is shown in Figure 13-25, where the numbers in the colored boxes indicate the grid-column number to which they’ve been attached.
Sometimes, you’d rather just draw a picture of your grid—both because it’s fun to do, and because the picture can serve as self-documenting code. It turns out you can more or less do exactly that with the grid-template-areas property.
We could go through a wordy description of how this works, but it’s a lot more fun to just show it. The following rule has the result shown in Figure 13-26:
#grid{display:grid;grid-template-areas:"h h h h""l c c r""l f f f";}
That’s right: the letters in the string values are used to define how areas of the grid are shaped. Really! And you aren’t even restricted to single letters! For example, we could expand the previous example like so:
#grid{display:grid;grid-template-areas:"header header header header""leftside content content rightside""leftside footer footer footer";}
The grid layout is the same as that shown in Figure 13-26, though the
name of each area would be different (e.g., footer instead of f).
In defining template areas, the whitespace is collapsed, so you can use
it (as I did in the previous example) to visually line up columns of
names in the value of grid-template-areas. You can line them up with
spaces or tabs, whichever will annoy your coworkers the most. Or you
can just use a single space to separate each identifier, and not worry
about the names lining up with each other. You don’t even have to
line break between strings; the following works just as well as a
pretty-printed version:
grid-template-areas:"h h h h""l c c r""l f f f";
What you can’t do is merge those separate strings into a single string and have it mean the same thing. Every new string (as delimited by the double quote marks) defines a new row in the grid. So the previous example, like the examples before it, defines three rows. If we merged them all into a single string, like so:
grid-template-areas:"h h h hl c c rl f f f";
then we’d have a single row of 12 columns, starting with the
4-column area h and ending with the 3-column area f. The
line breaks aren’t significant in any way, except as whitespace that
separates one identifier from another.
If you look at these values closely, you may come to realize that each individual identifier represents a grid cell. Let’s bring back our first example from this section, and consider the result shown in Figure 13-27:
#grid{display:grid;grid-template-areas:"h h h h""l c c r""l f f f";}
This is exactly the same layout result, but here, we’ve shown how each
grid identifier in the grid-template-areas value corresponds to a grid
cell. Once all the cells are identified, the browser merges any adjacent
cells with the same name into a single area that encloses all of
them—as long as they describe a rectangular shape! If you try to set up
more complicated areas, the entire template is invalid. Thus, the
following would result in no grid areas being defined:
#grid{display:grid;grid-template-areas:"h h h h""l c c r""l l f f";}
See how l outlines an “L” shape? That humble change causes the entire
grid-template-areas value to be dropped as invalid. A future version
of grid layout may allow for nonrectangular shapes, but for now, this
is what we have.
If you have a situation where you want to only define some grid cells to
be part of grid areas, but leave others unlabeled, you can use one or
more . characters to fill in for those unnamed cells. Let’s say you
just want to define some header, footer, and sidebar areas, and leave
the rest unnamed. That would look something like this, with the result
shown in Figure 13-28:
#grid{display:grid;grid-template-areas:"header header header header""left ... ... right""footer footer footer footer";}
The two grid cells in the center of the grid are not part of a named
area, having been represented in the template by null cell tokens (the
. identifiers). Where each of those ... sequences appears, we
could have used one or more null tokens—so left . . right or
left ..... ..... right would work just as well.
You can be as simple or creative with your cell names as you like. If
you want to call your header ronaldo and your footer podiatrist, go
for it. You can even use any Unicode character above codepoint U+0080,
so ConHugeCo©®™ and åwësømë are completely valid area identifiers…as are emoji!
Now, to size the grid tracks created by these areas, we bring in our old
friends grid-template-columns and grid-template-rows. Let’s add both
to the previous example, with the result shown in Figure 13-29:
#grid{display:grid;grid-template-areas:"header header header header""left ... ... right""footer footer footer footer";grid-template-columns:1fr20em20em1fr;grid-template-rows:40px10em3em;}
Thus, the columns and rows created by naming the grid areas are given track sizes. If we give more track sizes than there are area tracks, that will add more tracks past the named areas. Therefore, the following CSS will lead to the result shown in Figure 13-30:
#grid{display:grid;grid-template-areas:"header header header header""left ... ... right""footer footer footer footer";grid-template-columns:1fr20em20em1fr1fr;grid-template-rows:40px10em3em20px;}
So, given that we’re naming areas, how about mixing in some named grid
lines? As it happens, we already have: naming a grid area automatically
adds names to the grid lines at its start and end. For the header
area, there’s an implicit header-start name on its first column-grid
line and its first row-grid line, and header-end for its second
column- and row-grid lines. For the footer area, the footer-start and
footer-end names were automatically assigned to its grid lines.
Grid lines extend throughout the whole grid area, so a lot of these names are coincident. Figure 13-31 shows the naming of the lines created by the following template:
grid-template-areas:"header header header header""left ... ... right""footer footer footer footer";
Now let’s mix it up even more by adding a couple of explicit grid-line
names to our CSS. Given the following rules, the first column-grid line
in the grid would add the name begin, and the second row-grid line in
the grid would add the name content:
#grid{display:grid;grid-template-areas:"header header header header""left ... ... right""footer footer footer footer";grid-template-columns:[begin]1fr20em20em1fr1fr;grid-template-rows:40px[content]1fr3em20px;}
Again: those grid-line names are added to the implicit grid-line names created by the named areas. Interestingly enough, grid-line names never replace other grid-line names. Instead, they just keep piling up.
Even more interesting, this implicit-name mechanism runs in reverse.
Suppose you don’t use grid-template-areas at all, but instead set up
some named grid lines like so, as illustrated in Figure 13-32:
grid-template-columns:[header-startfooter-start]1fr[content-start]1fr[content-end]1fr[header-endfooter-end];grid-template-rows:[header-start]3em[header-endcontent-start]1fr[content-endfooter-start]3em[footer-end];
Because the grid lines use the form of name-start/name-end, the grid
areas they define are implicitly named. To be frank, it’s clumsier than
doing it the other way, but the capability is there in case you ever
want it.
Bear in mind that you don’t need all four grid lines to be named in order to create a named grid area, though you probably do need them all to create a named grid area where you want it to be. Consider the following example:
grid-template-columns:1fr[content-start]1fr[content-end]1fr;grid-template-rows:3em1fr3em;
This will still create a grid area named content. It’s just that the
named area will be placed into a new row after all the defined rows.
What’s odd is that an extra, empty row will appear after the defined
rows but before the row containing content. This has been confirmed to
be the intended behavior. Thus, if you try to create a named area by
naming the grid lines and miss one or more of them, then your named
area will effectively hang off to one side of the grid instead of being a
part of the overall grid structure.
So, again, you should probably stick to explicitly naming grid areas and
let the start- and end- grid-line names be created implicitly, as opposed to the other
way around.
Believe it or not, we’ve gotten this far without talking about how grid items are actually attached to a grid, once it’s been defined.
There are a couple of ways to go about this, depending on whether you want to refer to grid lines or grid areas. We’ll start with four simple properties that attach an element to grid lines.
What these properties do is let you say, “I want the edge of the element to be attached to grid line such-and-so.” As with so much of grid layout, it’s a lot easier to show than to describe, so ponder the following styles and their result (see Figure 13-33):
.grid{display:grid;width:50em;grid-template-rows:repeat(5,5em);grid-template-columns:repeat(10,5em);}.one{grid-row-start:2;grid-row-end:4;grid-column-start:2;grid-column-end:4;}.two{grid-row-start:1;grid-row-end:3;grid-column-start:5;grid-column-end:10;}.three{grid-row-start:4;grid-column-start:6;}
Here, we’re using grid-line numbers to say where and how the elements
should be placed within the grid. Column numbers count from left to
right, and row numbers from top to bottom. Note that if you omit ending
grid lines, as was the case for .three, then the next grid lines in
sequence are used for the end lines.
Thus, the rule for .three in the
previous example is exactly equivalent to the following:
.three{grid-row-start:4;grid-row-end:5;grid-column-start:6;grid-column-end:7;}
There’s another way to say that same thing, as it happens: you could
replace the ending values with span 1, or even just plain span, like
this:
.three{grid-row-start:4;grid-row-end:span1;grid-column-start:6;grid-column-end:span;}
If you supply span with a number, you’re saying, “span across this
many grid tracks.” So we can rewrite our earlier example like this, and
get exactly the same result:
#grid{display:grid;grid-template-rows:repeat(5,5em);grid-template-columns:repeat(10,5em);}.one{grid-row-start:2;grid-row-end:span2;grid-column-start:2;grid-column-end:span2;}.two{grid-row-start:1;grid-row-end:span2;grid-column-start:5;grid-column-end:span5;}.three{grid-row-start:4;grid-row-end:span1;grid-column-start:6;grid-column-end:span;}
If you leave out a number for span, it’s set to be 1. You can’t use
zero or negative numbers for span; only positive integers.
An interesting feature of span is that you can use it for both ending
and starting grid lines. The precise behavior of span is that it
counts grid lines in the direction “away” from the grid line where it
starts. In other words, if you define a start grid line and set the
ending grid line to be a span value, it will search toward the end of
the grid. Conversely, if you define an ending grid line and make the
start line a span value, then it will search toward the start of the
grid.
That means the following rules will have the result shown in Figure 13-34:
#grid{display:grid;grid-rows:repeat(4,2em);grid-columns:repeat(5,5em);}.box01{grid-row-start:1;grid-column-start:3;grid-column-end:span2;}.box02{grid-row-start:2;grid-column-start:span2;grid-column-end:3;}.box03{grid-row-start:3;grid-column-start:1;grid-column-end:span5;}.box04{grid-row-start:4;grid-column-start:span1;grid-column-end:5;}
In contrast to span numbering, you aren’t restricted to positive
integers for your actual grid-line values. Negative numbers will
count backward from the end of explicitly defined grid lines. Thus, to
place an element into the bottom-right grid cell of a defined grid,
regardless of how many columns or rows it might have, you can just say this:
grid-column-start:-1;grid-row-start:-1;
Note that this doesn’t apply to any implicit grid tracks, a concept
we’ll get to in a bit, but only to the grid lines you explicitly define
via one of the grid-template-* properties (e.g., grid-template-rows).
We aren’t restricted to grid-line numbers, as it happens. If there are
named grid lines, we can refer to those instead of (or in conjunction
with) numbers. If you have multiple instances of a grid-line name, then
you can use numbers to identify which instance of the grid-line name
you’re talking about. Thus, to start from the fourth instance of a row
grid named mast-slice, you can say mast-slice 4. Take a look at the
following, illustrated in Figure 13-35, for an idea of how this works:
#grid{display:grid;grid-template-rows:repeat(5,[R]4em);grid-template-columns:2emrepeat(5,[col-A]5em[col-B]5em)2em;}.one{grid-row-start:R2;grid-row-end:5;grid-column-start:col-B;grid-column-end:span2;}.two{grid-row-start:R;grid-row-end:spanR2;grid-column-start:col-A3;grid-column-end:span2col-A;}.three{grid-row-start:9;grid-column-start:col-A-2;}
Notice how span changes when we add a name: where we said
span 2 col-A, that caused the grid item to span from its starting
point (the third col-A) across another col-A and end at the col-A
after that. This means the grid item actually spans four column tracks,
since col-A appears on every other column grid line.
Again, negative numbers count backward from the end of a sequence, so
col-A -2 gets us the second-from-last instance of a grid line named
col-A. Because there are no end-line values declared for .three,
they’re both set to span 1. That means the following is exactly
equivalent to the .three in the previous example:
.three{grid-row-start:9;grid-row-end:span1;grid-column-start:col-A-2;grid-row-end:span1;}
There’s an alternative way to use names with named grid lines—specifically, the named grid lines that are implicitly created by grid areas. For example, consider the following styles, illustrated in Figure 13-36:
grid-template-areas:"header header header header""leftside content content rightside""leftside footer footer footer";#masthead{grid-row-start:header;grid-column-start:header;grid-row-end:header;}#sidebar{grid-row-start:2;grid-row-end:4;grid-column-start:leftside/span1;}#main{grid-row-start:content;grid-row-end:content;grid-column-start:content;}#navbar{grid-row-start:rightside;grd-row-end:3;grid-column-start:rightside;}#footer{grid-row-start:3;grid-row-end:span1;grid-column-start:footer;grid-row-end:footer;}
What happens if you supply a custom identifier (i.e., a name you
defined) is that the browser looks for a grid line with that name plus
either -start or -end added on, depending on whether you’re
assigning a start line or an end line. Thus, the following are
equivalent:
grid-column-start:header;grid-column-end:header;grid-column-start:header-start;grid-column-end:header-end;
This works because, as was mentioned with grid-template-areas,
explicitly creating a grid area implicitly creates the named -start and
-end grid lines that surround it.
The final value possibility, auto, is kind of interesting. According
to the Grid Layout specification, if one of the grid-line start/end
properties is set to auto, that indicates “auto-placement, an
automatic span, or a default span of one.” In practice, what this tends
to mean is that the grid line that gets picked is governed by the grid
flow, a concept we have yet to cover (but will soon!). For a start line,
auto usually means that the next available column or row line will be
used. For an end line, auto usually means a one-cell span. In both
cases, the word “usually” is used intentionally: as with any automatic
mechanism, there are no absolutes.
There are two shorthand properties that allow you to more compactly attach an element to grid lines.
The primary benefit of these properties is that they make it a lot simpler to declare the start and end grid lines to be used for laying out a grid item. For example:
#grid{display:grid;grid-template-rows:repeat(10,[R]1.5em);grid-template-columns:2emrepeat(5,[col-A]5em[col-B]5em)2em;}.one{grid-row:R3/7;grid-column:col-B/span2;}.two{grid-row:R/spanR2;grid-column:col-A3/span2col-A;}.three{grid-row:9;grid-column:col-A-2;}
That’s a whole lot easier to read than having each start and end value in its own property, honestly. Other than being more compact, the behavior of these properties is more or less what you’d expect. If you have two bits separated by a solidus, the first part defines the starting grid line, and the second part defines the ending grid line.
If you have only one value with no solidus, it defines the starting grid line. The ending grid line depends on what you said for the starting line. If you supply a name for the starting grid line, then the ending grid line is given that same name. Thus, the following are equivalent:
grid-column:col-B;grid-column:col-B/col-B;
That will span from one instance of that grid-line name to the next, regardless of how many grid cells are spanned.
If a single number is given, then the second number (the end line) is set to auto. That
means the following pairs are equivalent:
grid-row:2;grid-row:2/auto;grid-column:header;grid-column:header/header;
There’s a subtle behavior built into the handling of grid-line names in
grid-row and grid-column that pertains to implicitly named grid
lines. If you recall, defining a named grid area creates -start and -end
grid lines. That is, given a grid area with a name of footer, there
are implicitly created footer-start grid lines to its top and left,
and footer-end grid lines to its bottom and right.
In that case, if you refer to those grid lines by the area’s name, the element will still be placed properly. Thus, the following styles have the result shown in Figure 13-37:
#grid{display:grid;grid-template-areas:"header header""sidebar content""footer footer";grid-template-rows:auto1frauto;grid-template-columns:25%75%;}#header{grid-row:header/header;grid-column:header;}#footer{grid-row:footer;grid-column:footer-start/footer-end;}
You can always explicitly refer to the implicitly named grid lines, but
if you just refer to the grid area’s name, things still work out. If you refer
to a grid-line name that doesn’t correspond to a grid area, then it
falls back to the behavior discussed previously. In detail, it’s the
same as saying line-name 1, so the following two are equivalent:
grid-column:jane/doe;grid-column:jane1/doe1;
This is why it’s risky to name grid lines the same as grid areas. Consider the following:
grid-template-areas:"header header""sidebar content""footer footer""legal legal";grid-template-rows:auto1fr[footer]auto[footer];grid-template-columns:25%75%;
This explicitly sets grid lines named footer above the “footer” row
and below the “legal” row…and now there’s trouble ahead. Suppose we add
this:
#footer{grid-column:footer;grid-row:footer;}
For the column lines, there’s no problem. footer gets expanded to
footer / footer. The browser looks for a grid area with that name and
finds it, so it translates footer / footer to
footer-start / footer-end. The #footer element is attached to those
implicit grid lines.
For grid-row, everything starts out the same. footer becomes
footer / footer, which is translated to footer-start / footer-end.
But that means the #footer will only be as tall as the “footer” row.
It will not stretch to the second explicitly named footer grid line
below the “legal” row, because the translation of footer to
footer-end (due to the match between the grid-line name and the grid-area name) takes precedence.
The upshot of all this: it’s generally a bad idea to use the same name for grid areas and grid lines. You might be able to get away with it in some scenarios, but you’re almost always better off keeping your line and area names distinct, so as to avoid tripping over name-resolution conflicts.
Up to this point, we’ve concerned ourselves solely with
explicitly defined grids: we’ve talked about the row and column tracks
we define via properties like grid-template-columns, and how to attach grid
items to the cells in those tracks.
But what happens if we try to place a grid item, or even just part of a grid item, beyond that explicitly created grid? For example, consider the following grid:
#grid{display:grid;grid-template-rows:2em2em;grid-template-columns:repeat(6,4em);}
Two rows, six columns. Simple enough. But suppose we define a grid item to sit in the first column and go from the first grid line to the fourth:
.box01{grid-column:1;grid-row:1/4;}
Now what? There are only two rows bounded by three grid lines, and we’ve told the browser to go beyond that, from row line 1 to row line 4.
What happens is that another row line is created to handle the situation. This grid line, and the new row track it creates, are both part of the implicit grid. Here are a few examples of grid items that create implicit grid lines (and tracks) and how they’re laid out (see Figure 13-38):
.box01{grid-column:1;grid-row:1/4;}.box02{grid-column:2;grid-row:3/span2;}.box03{grid-column:3;grid-row:span2/3;}.box04{grid-column:4;grid-row:span2/5;}.box05{grid-column:5;grid-row:span4/5;}.box06{grid-column:6;grid-row:-1/span3;}.box07{grid-column:7;grid-row:span3/-1;}
There’s a lot going on there, so let’s break it down. First off, the explicit grid is represented by the light-gray box behind the various numbered boxes; all the dashed lines represent the implicit grid.
So, what about those numbered boxes? box1 adds an extra grid line
after the end of the explicit grid, as we discussed before. box2
starts on the last line of the explicit grid, and spans forward two
lines, so it adds yet another implicit grid line. box3 ends on the
last explicit grid line (line 3) and spans back two lines, thus starting
on the first explicit grid line.
box4 is where things really get interesting. It ends on the fifth row
line, which is to say the second implicit grid line. It spans back three
lines—and yet, it still starts on the same grid line as box3. This
happens because spans have to start counting within the explicit grid.
Once they start, they can continue on into the implicit grid (as
happened with box2), but they cannot start counting within the
implicit grid.
Thus, box4 ends on row-line 5, but its span starts with grid-line 3
and counts back two lines (span 2) to arrive at line 1. Similarly,
box5 ends on line 5, and spans back four lines, which means it starts on
row-line –2. Remember: span counting must start in the explicit grid. It
doesn’t have to end there.
After those, box6 starts on the last
explicit row line (line 3), and spans out to the sixth row line—adding
yet another implicit row line. The point of having it here is to show
that negative grid-line references are with respect to the explicit
grid, and count back from its end. They do not refer to
negatively indexed implicit lines that are placed before the start of
the explicit grid.
If you want to start an element on an implicit grid line before the
explicit grid’s start, then the way to do that is shown by box7: put
its end line somewhere in the explicit grid, and span back past the
beginning of the explicit grid. And you may have noticed: box7
occupies an implicit column track. The original grid was set up to
create six columns, which means seven column lines, the seventh being
the end of the explicit grid. When box7 was given grid-column: 7,
that was equivalent to grid-column: 7 / span 1 (since a missing end
line is always assumed to be span 1). That necessitated the creation
of an implicit column line in order to hold the grid item in the
implicit seventh column.
Now let’s take those principles and add named grid lines to the mix. Consider the following, illustrated in Figure 13-39:
#grid{display:grid;grid-template-rows:[begin]2em[middle]2em[end];grid-template-columns:repeat(5,5em);}.box01{grid-column:1;grid-row:2/spanend2;}.box02{grid-column:2;grid-row:2/spanfinal;}.box03{grid-column:3;grid-row:1/span3middle;}.box04{grid-column:4;grid-row:spanbegin2/end;}.box05{grid-column:5;grid-row:span2middle/begin;}
What you can see at work there, in several of the examples, is what
happens with grid-line names in the implicit grid: every
implicitly created line has the name that’s being hunted. Take box2,
for example. It’s given an end line of final, but there is no line
with that name. Thus the span-search goes to the end of the explicit
grid and, having not found the name it’s looking for, creates a new grid
line, to which it attaches the name final. (In Figure 13-39, the implicitly-created line names are italicized and faded out a bit.)
Similarly, box3 starts on the first explicit row line, and then needs
to span three middle named lines. It searches forward and finds one,
then goes looking for the other two. Not finding any, it attaches the
name middle to the first implicit grid line, and then does the same
for the second implicit grid line. Thus, it ends two implicit grid lines
past the end of the explicit grid.
The same sort of thing happens with box4 and box5, except working backward from endpoints. box4 ends with the end line (line 3), then spans back to the second begin line it can find. This causes an implicit line to be created before the first line, named begin. box 5 spans back from begin (the explicitly labeled begin) to the second middle it can find. Since it can’t find any, it labels two implcit lines middle and ends at the one furthest from where it started looking.
When you get right down to it, the implicit grid is a delightfully baroque fallback mechanism. It’s generally best practice to stick to the explicit grid, and to make sure the explicit grid covers everything you want to do. If you find you need another row, don’t just run off the edge of the grid—adjust your grid template’s values instead!
There are a few cases that need to be covered, as they fall under the general umbrella of “what grids do when things go pear-shaped.”
First, what if you accidentally put the start line after the end line? Say, something like this:
grid-row-start:5;grid-row-end:2;
All that happens is probably what was meant in the first place: the values are swapped. Thus, you end up with this:
grid-row-start:2;grid-row-end:5;
Second, what if both the start and the end lines are declared to be spans of some variety? For example:
grid-column-start:span;grid-column-end:span3;
If this happens, the end value is dropped and replaced with auto. That
means you’d end up with this:
grid-column-start:span;/* 'span' is equal to 'span 1' */grid-column-end:auto;
That would cause the grid item to have its ending edge placed automatically, according to the current grid flow (a subject we’ll soon explore), and the starting edge to be placed one grid line earlier.
Third, what if the only thing directing placement of the grid item is a named span? In other words:
grid-row-start:spanfooter;grid-row-end:auto;
This is not permitted, so the span footer in this case is replaced
with span 1.
Attaching by row lines and column lines is great, but what if you could
refer to a grid area with a single property? Behold: grid-area.
Let’s start with the easier use of grid-area: assigning an element to
a previously defined grid area. Makes sense, right? Let’s bring back our
old friend grid-template-areas, put it together with grid-area and
some markup, and see what magic results (as shown in Figure 13-40):
#grid{display:grid;grid-template-areas:"header header header header""leftside content content rightside""leftside footer footer footer";}#masthead{grid-area:header;}#sidebar{grid-area:leftside;}#main{grid-area:content;}#navbar{grid-area:rightside;}#footer{grid-area:footer;}<divid="grid"><divid="masthead">…</div><divid="main">…</div><divid="navbar">…</div><divid="sidebar">…</div><divid="footer">…</div></div>
That’s all it takes: set up some named grid areas to define your layout,
and then drop grid items into them with grid-area. So simple, and yet
so powerful.
As you might have noticed, the sizing of the column and row tracks was omitted from that CSS. This was done entirely for clarity’s sake. In an actual design, the rule probably would look more like this:
grid-template-areas:"header header header header""leftside content content rightside""leftside footer footer footer";grid-template-rows:200px1fr3em;grid-template-columns:20em1fr1fr10em;
There is another way to use grid-area that refers to grid lines
instead of grid areas. Fair warning: it’s likely to be confusing at
first, for a couple of reasons.
Here’s an example of a grid template that defines some grid lines, and
some grid-area rules that reference the lines, as illustrated in
Figure 13-41:
#grid{display:grid;grid-template-rows:[r1-start]1fr[r1-endr2-start]2fr[r2-end];grid-template-columns:[col-start]1fr[col-endmain-start]1fr[main-end];}.box01{grid-area:r1/main/r1/main;}.box02{grid-area:r2-start/col-start/r2-end/main-end;}.box03{grid-area:1/1/2/2;}
As you can see, the elements were placed as directed. Note the ordering
of the grid-line values, however. They’re listed in the order
row-start, column-start, row-end, column-end. If you diagram
that in your head, you’ll quickly realize that the values go
anticlockwise around the grid item—the exact opposite of the TRBL (Top, Right, Bottom, Left) pattern we’re used to from margins, padding, borders, and so on.
Furthermore, this means the column and row references are not grouped
together, but are instead split up.
Yes, this is intentional. No, I don’t know why.
If you supply fewer than four values, the missing values are taken from
those you do supply. If there are only three values, then the missing
grid-column-end is the same as grid-column-start if it’s a name; if
the start line is a number, the end line is set to auto. The same
holds true if you give only two values, except that the now-missing
grid-row-end is copied from grid-row-start if it’s a name;
otherwise, it’s set to auto.
From that, you can probably guess what happens if only one value is
supplied: if it’s a name, use it for all four values; if it’s a number,
the rest are set to auto.
This one-to-four replication pattern is actually how giving a single grid-area name translates into having the grid item fill that area. The following are equivalent:
grid-area:footer;grid-area:footer/footer/footer/footer;
Now recall the behavior discussed in the previous section about
grid-column and grid-row: if a grid line’s name matches the name of
a grid area, then it’s translated into a -start or -end variant, as
appropriate. That means the previous example is translated to the
following:
grid-area:footer-start/footer-start/footer-end/footer-end;
And that’s how a single grid-area name causes an element to be placed into the corresponding grid area.
One thing we’ve been very careful to do in our grid layouts thus far is to avoid overlap. Rather like positioning, it’s absolutely (get it?) possible to make grid items overlap each other. Let’s take a simple case, illustrated in Figure 13-42:
#grid{display:grid;grid-template-rows:50%50%;grid-template-columns:50%50%;}.box01{grid-area:1/1/2/3;}.box02{grid-area:1/2/3/2;}
Thanks to the grid numbers that were supplied, the two grid items overlap in the upper-right grid cell. Which is on top of the other depends on the layering behavior discussed later, but for now, just take it as given that they do layer when overlapping.
Overlap isn’t restricted to situations involving raw grid numbers. In the following case, the sidebar and the footer will overlap, as shown in Figure 13-43. (Assuming the footer comes later than the sidebar in the markup, then in the absence of other styles, the footer will be on top of the sidebar.)
#grid{display:grid;grid-template-areas:"header header""sidebar content""footer footer";}#header{grid-area:header;}#sidebar{grid-area:sidebar/sidebar/footer-end/sidebar;}#footer{grid-area:footer;}
I bring this up in part to warn you about the possibility of overlap, and also to serve as a transition to the next topic. It’s a feature that sets grid layout apart from positioning, in that it can sometimes help avoid overlap: the concept of grid flow.
For the most part, we’ve been explicitly placing grid items on the grid. If items aren’t explicitly placed, then they’re automatically placed into the grid. Following the grid flow in effect, an item is placed in the first area that will fit it. The simplest case is just filling a grid track in sequence, one grid item after another, but things can get a lot more complex than that, expecially if there is a mixture of explicitly and automatically placed grid items—the latter must work around the former.
There are primarily two grid-flow models, row-first and column-first,
though you can enhance either by specifying a dense flow. All this is
done with the property grid-auto-flow.
To see how these values work, consider the following markup:
<olid="grid"><li>1</li><li>2</li><li>3</li><li>4</li><li>5</li></ol>
To that markup, let’s apply the following styles:
#grid{display:grid;width:45em;height:8em;grid-auto-flow:row;}#gridli{grid-row:auto;grid-column:auto;}
Assuming a grid with a column line every 15 ems and a row line every 4 ems, we get the result shown in Figure 13-44.
This probably seems pretty normal, the same sort of thing you’d get if
you floated all the boxes, or if all of them were inline blocks. That’s
why row is the default value. Now, let’s try switching the
grid-auto-flow value to column, as shown in Figure 13-45:
#grid{display:grid;width:45em;height:8em;grid-auto-flow:column;}#gridli{grid-row:auto;grid-column:auto;}
So with grid-auto-flow: row, each row is filled in before starting on
the next row. With grid-auto-flow: column, each column is filled
first.
What needs to be stressed here is that the list items weren’t explicitly sized. By default, they were resized to attach to the defined grid lines. This can be overridden by assigning explicit sizing to the elements. For example, if we make the list items be 7 ems wide and 1.5 ems tall, we’ll get the result shown in Figure 13-46:
#grid{display:grid;width:45em;height:8em;grid-auto-flow:column;}#gridli{grid-row:auto;grid-column:auto;width:7em;height:1.5em;}
If you compare that to the previous figure, you’ll see that the corresponding grid items start in the same place in each figure; they just don’t end in the same places. This illustrates that what’s really placed in grid flow is grid areas, to which the grid items are then attached.
This is important to keep in mind if you auto-flow elements that are wider than their assigned column or taller than their assigned row, as can very easily happen when turning images or other intrinsically sized elements into grid items. Let’s say we want to put a bunch of images, each a different size, into a grid that’s set up to have a column line every 50 horizontal pixels, and a row line every 50 vertical pixels. This grid is illustrated in Figure 13-47, along with the results of flowing a series of images into that grid by either row or column:
#grid{display:grid;grid-template-rows:repeat(3,50px);grid-template-columns:repeat(4,50px);grid-auto-rows:50px;grid-auto-columns:50px;}img{grid-row:auto;grid-column:auto;}
Notice how some of the images overlap others? That’s because each image is attached to the next grid line in the flow, without taking into account the presence of other grid items. We didn’t set up images to span more than one grid track when they needed it, so overlap occurred.
This can be managed with class names or other identifiers. We could
class images as tall or wide (or both) and specify that they get
more grid tracks. Here’s some CSS to add to the previous example, with
the result shown in Figure 13-48:
img.wide{grid-column:auto/span2;}img.tall{grid-row:auto/span2;}
This does cause the images to keep spilling down the page, but there’s no overlapping.
However, notice how there are gaps in that last grid? That happened because the placement of some grid items across grid lines didn’t leave enough room for other items in the flow. In order to illustrate this, and the two flow patterns, more clearly, let’s try an example with numbered boxes (Figure 13-49).
Follow across the rows of the first grid, counting along with the numbers. In this particular flow, the grid items are laid out almost as if they were leftward floats. Almost, but not quite: notice that grid item 13 is actually to the left of grid item 11. That would never happen with floats, but it can with grid flow. The way row flow (if we may call it that) works is that you go across each row from left to right, and if there’s room for a grid item, you put it there. If a grid cell has been occupied by another grid item, you skip over it. So the cell next to item 10 didn’t get filled, because there wasn’t room for item 11. Item 13 went to the left of item 11 because there was room for it there when the row was reached.
The same basic mechanisms hold true for column flow, except in this case you work from top to bottom. Thus, the cell below item 9 is empty because item 10 wouldn’t fit there. It went into the next column and spanned four grid cells. The items after it, since they were just one grid cell in size, filled in the cells after it in column order.
Grid flow works left-to-right, top-to-bottom in languages that have that writing pattern. In right-to-left languages, such as Arabic and Hebrew, the row-oriented flow would be right-to-left, not left-to-right.
If you were just now wishing for a way to pack grid items as densely as
possible, regardless of how that affected the ordering, good news: you
can! Just add the keyword dense to your grid-auto-flow value, and
that’s exactly what will happen. We can see the result in Figure 13-50,
which shows the results of grid-auto-flow: row dense and
grid-auto-flow: dense column side by side.
In the first grid, item 12 appears in the row above item 11 because there was a cell that fit it. For the same reason, item 11 appears to the left of item 10 in the second grid.
In effect, what happens with dense grid flow is that for each grid
item, the browser scans through the entire grid in the given flow
direction (row or column), starting from the flow’s starting point
(the top-left corner, in LTR—left-to-right—languages), until it finds a place where
that grid item will fit. This can make things like photo galleries more
compact, and works great as long as you don’t have a specific order in
which the images need to appear.
Now that we’ve explored grid flow, I have a confession to make: in order to make the last couple of grid items look right, I included some CSS that I didn’t show you. Without it, the items hanging off the edge of the grid would have looked quite a bit different than the other items—much shorter in row-oriented flow, and much narrower in column-oriented flow. We’ll see why, and the CSS I used, in the next section.
So far, we’ve almost entirely seen grid items placed into a grid that
was explicitly defined. But in the last section we had situations
where grid items ran off the edge of the explicitly defined grid. What
happens when a grid item goes off the edge? Rows or columns are added as
needed to satisfy the layout directives of the items in question (see “The Implicit Grid”). So, if an item with a row span of
3 is added after the end of a row-oriented grid, three new rows are
added after the explicit grid.
By default, these automatically added rows are the absolute minimum size
needed. If you want to exert a little more control over their sizing,
then grid-auto-rows and grid-auto-columns are for you.
For any automatically created row or column tracks, you can provide a
single track size or a minmaxed pair of track sizes. Let’s take a look
at a reduced version of the grid-flow example from the previous section:
we’ll set up a 2 × 2 grid, and try to put five items into it. In fact,
let’s do it twice: once with grid-auto-rows, and once without, as
illustrated in Figure 13-51:
.grid{display:grid;grid-template-rows:80px80px;grid-template-columns:80px80px;}#g1{grid-auto-rows:80px;}
As you can see, without sizing the automatically created row, the grid
item is placed in a row that’s exactly as tall as the grid item’s
content, and not a pixel more. It’s still just as wide as the column
into which it’s placed, because that has a size (80px). The row,
lacking an explicit height, defaults to auto, with the result shown.
If we flip it around to columns, the same basic principles apply (see Figure 13-52):
.grid{display:grid;grid-auto-flow:column;grid-template-rows:80px80px;grid-template-columns:80px80px;}#g1{grid-auto-columns:80px;}
In this case, because the flow is column-oriented, the last grid item is
placed into a new column past the end of the explicit grid. In the
second grid, where there’s no grid-auto-columns, that fifth item is as
tall as its row (80px), but has an auto width, so it’s just as wide
as it needs to be and no wider. If a sixth item were added
and it had wider content, then the column would be sized to fit that
content, thus widening the fifth item.
So now you know what I used in the grid-auto-flow figures in the
previous section: I silently made the auto-rows and auto-columns the same
size as the explicitly sized columns, in order to not have the last
couple of items look weird. Let’s bring back one of those figures, only
this time the grid-auto-rows and grid-auto-columns styles will be
removed. As you can see in Figure 13-53, the last few items in each grid are
shorter or narrower than the rest, due to the lack of auto-track sizing.
At long last, we’ve come to the shorthand property grid. It might just
surprise you, though, because it’s not like other shorthand properties.
The syntax is a little bit migraine-inducing, I admit, but we’ll step through it a piece at a time.
Let’s get to the elephant in the room right away: grid allows you to either
define a grid template or to set the grid’s flow and auto-track
sizing in a compact syntax. You can’t do both at the same time.
Furthermore, whichever you don’t define is reset to its defaults,
as is normal for a shorthand property. So if you define the grid template,
then the flow and auto tracks will be returned to their default values.
This includes grid gutters, a topic we haven’t even covered yet. You
can’t set the gutters with grid, but it will reset them anyway.
Yes, this is intentional. No, I don’t know why.
So let’s talk about creating a grid template using grid. The values can
get fiendishly complex, and take on some fascinating patterns, but can be
very handy. As an example, the following rule is equivalent to the set of
rules that follows it:
grid:"header header header header"3em". content sidebar ."1fr"footer footer footer footer"5em/2em3frminmax(10em,1fr)2em;grid-template-areas:"header header header header"". content sidebar .""footer footer footer footer";grid-template-rows:3em1fr5em;grid-template-columns:2em3frminmax(10em,1fr)2em;
Notice how the value of grid-template-rows is broken up and scattered
around the strings of grid-template-areas. That’s how row sizing is
handled in grid when you have grid-area strings present. Take
those strings out, and you end up with the following:
grid:3em1fr5em/2em3frminmax(10em,1fr)2em;
In other words, the row tracks are separated by a solidus (/) from the
column tracks.
Remember that with grid, undeclared shorthands are reset to their defaults.
That means the following two rules are equivalent:
#layout{display:grid;grid:3em1fr5em/2em3frminmax(10em,1fr)2em;}#layout{display:grid;grid:3em1fr5em/2em3frminmax(10em,1fr)2em;grid-auto-rows:auto;grid-auto-columns:auto;grid-auto-flow:row;}
Therefore, make sure your grid declaration comes before anything else
related to defining the grid. That means that if we wanted a dense column
flow, we’d write something like this:
#layout{display:grid;grid:3em1fr5em/2em3frminmax(10em,1fr)2em;grid-auto-flow:densecolumn;}
Now, let’s bring the named grid areas back, and add some
extra row grid-line names to the mix. A named grid line that goes above
a row track is written before the string, and a grid line that goes
below the row track comes after the string and any track sizing. So
let’s say we want to add main-start and main-stop above and below
the middle row, and page-end at the very bottom:
grid:"header header header header"3em[main-start]". content sidebar ."1fr[main-stop]"footer footer footer footer"5em[page-end]/2em3frminmax(10em,1fr)2em;
That creates the grid shown in Figure 13-54, with the implicitly created
named grid lines (e.g., footer-start), along with the explicitly named
grid lines we wrote into the CSS.
You can see how grid can get very complicated very quickly.
It’s a very powerful syntax, and it’s surprisingly easy to get used to
once you’ve had just a bit of practice. On the other hand, it’s also
easy to get things wrong and have the entire value be invalid, thus
preventing the appearance of any grid at all.
For the other use of grid, it’s a merging of grid-auto-flow,
grid-auto-rows, and grid-auto-columns. The following rules are
equivalent:
#layout{grid-auto-flow:denserows;grid-auto-rows:2em;grid-auto-columns:minmax(1em,3em);}#layout{grid:denserows2em/minmax(1em,3em);}
That’s certainly a lot less typing for the same result! But once again, I have to remind you: if you write this, then all the column and row track properties will be set to their defaults. Thus, the following rules are equivalent:
#layout{grid:denserows2em/minmax(1em,3em);}#layout{grid:denserows2em/minmax(1em,3em);grid-template-rows:auto;grid-template-columns:auto;}
So once again, it’s important to make sure your shorthand comes before any properties it might otherwise override.
There’s another possible value for grid, which is subgrid.
It might be used something like this:
#grid{display:grid;grid:repeat(auto-fill,2em)/repeat(10,1%8%1%);}.module{display:grid;grid:subgrid;}
What happens inside each module element is that its grid items (i.e.,
its child elements) use the grid defined by #grid to align themselves.
This is potentially really useful, because you can imagine having a module that spans three of its parent’s column patterns and containing child elements that are aligned to and laid out using the “master” grid. This is illustrated in Figure 13-55.
The problem is that, as of this writing, subgrid is an
“at-risk” feature of grid layout, and may be dropped entirely. That’s
why it rates just this small section, instead of a more comprehensive
examination.
So far, we’ve seen a lot of grid items jammed right up against one another, with no space between them. There are a number of ways to mitigate this, as we’ll talk about in this section, starting with gutters.
Simply put, a gutter is a space between two grid tracks. It’s created
as if by expanding the grid line between them to have actual width. It’s
much like border-spacing in table styling—both because it creates
space between grid cells and because you can set only a single spacing
value for each axis, via the properties grid-row-gap and
grid-column-gap.
Right up front: as the value syntax shows, you can supply only a length or percentage
for these properties; what it’s less clear about is that the value
must be non-negative. It’s not possible to supply a fractional value via fr, nor a minmax of some sort. If you want your
columns to be separated by 1 em, then it’s easy enough:
grid-column-gap: 1em. All the
columns in the grid will be pushed apart by 1 em, as illustrated in
Figure 13-56:
#grid{display:grid;grid-template-rows:5em5em;grid-template-columns:15%1fr1fr;grid-column-gap:1em;}
In terms of sizing the tracks in a grid, gutters are treated as if they’re grid tracks. Thus, given the following styles, the fractional grid rows will each be 140 pixels tall:
#grid{display:grid;height:500px;grid-template-rows:100px1fr1fr75px;grid-row-gap:15px;}
We get 140 pixels for each fraction row’s height because there are a
total of 500 pixels of height. From that, we subtract the two row tracks
(100 and 75) to get 325. From that result, we subtract the three
15-pixel gutters, which totals 45 pixels; this yields 280 pixels. That
divided in half (because the fractional rows have equal fractions) gets
us 140 pixels each. If the gutter value were increased to 25px, then
the fractional rows would have 250 pixels to divide between them, making
each 125 pixels tall.
Track sizing can be much more complicated than this; the example used all pixels because it makes the math simple. You can always mix units however you’d like, including minmaxing your actual grid tracks. This is one of the main strengths of grid layout.
Grid gutters can be changed from their declared size by the
effects of align-content and justify-content. This will be covered
in the upcoming section, “Opening Grid Spaces”.
There is, as you might have already suspected, a shorthand that combines row and column gap lengths into a single property.
Not a lot more to say than that, really: supply two non-negative lengths, and you’ll have defined the row gutters and column gutters, in that order. Here’s an example, as shown in Figure 13-57:
#grid{display:grid;grid-template-rows:5em5em;grid-template-columns:15%1fr1fr;grid-gap:12px2em;}
Now we can create a grid, attach items to the grid, and even create gutters between the grid tracks. But what happens if we style the element that’s attached to the grid with, say, margins? Or if it’s absolutely positioned? How do these things interact with the grid?
Let’s take margins first. The basic principle at work is that an element is attached to the grid by its margin edges. That means you can push the visible parts of the element inward from the grid area it occupies by setting positive margins—and pull it outward with negative margins. For example, these styles will have the result shown in Figure 13-58:
#grid{display:grid;grid-template-rows:repeat(2,100px);grid-template-columns:repeat(2,200px);}.box02{margin:25px;}.box03{margin:-25px0;}
This worked as it did because the items had both their width and
height set to auto, so they could be stretched as needed to make
everything work out. If width and/or height have non-auto values,
then they’ll end up overriding margins to make all the math work out.
This is much like what happens with right and left margins when element
sizing is overconstrained: eventually, one of the margins gets overridden.
Consider an element with the following styles placed into a 200-pixel-wide by 100-pixel-tall grid area:
.exel{width:150px;height:100px;padding:0;border:0;margin:10px;}
Going across the element first, it has 10 pixels of margin to either
side, and its width is 150px, giving a total of 170 pixels.
Something’s gotta give, and in this case it’s the right margin (in
left-to-right languages), which is changed to 40px to make everything
work—10 pixels on the left margin, 150 pixels on the content box, and 40
pixels on the right margin equals the 200 pixels of the grid area’s
width.
On the vertical axis, the bottom margin is reset to -10px. This
compensates for the top margin and content height totalling 110 pixels,
when the grid area is only 100 pixels tall.
Margins on grid items are ignored when calculating grid-track
sizes. That means that no matter how big or small you make a grid item’s
margins, it won’t change the sizing of a min-content column, for
example, nor will increasing the margins on a grid item cause fr-sized
grid tracks to change size.
As with block layout, you can selectively use auto margins to decide
which margin will have its value changed to fit. Suppose we wanted the
grid item to align to the right of its grid area. By setting the item’s
left margin to auto, that would happen:
.exel{width:150px;height:100px;padding:0;border:0;margin:10px;margin-left:auto;}
Now the element will add up 160 pixels for the right margin and content
box, and then give the difference between that and the grid area’s width
to the left margin, since it’s been explicitly set to auto. This has
the result shown in Figure 13-59, where there are 10 pixels of margin on
each side of the exel item, except the left margin, which is (as we
just calculated) 40 pixels.
That might seem familiar from block-level layout, where you can use
auto left and right margins to center an element in its containing
block, as long as you’ve given it an explicit width. Where grid layout
differs is that you can do the same thing on the vertical axis; that is,
given an element with an absolute height, you can vertically center it
by setting the top and bottom margins to auto. Figure 13-60 shows a
variety of auto margin effects on images, which naturally have
explicit heights and widths:
.i01{margin:10px;}.i02{margin:10px;margin-left:auto;}.i03{margin:auto10pxautoauto;}.i04{margin:auto;}.i05{margin:autoauto00;}.i06{margin:0auto;}
There are other ways to align grid items, notably with properties
like justify-self, which don’t depend on having explicit height and
width values. These will be covered in the next section.
This is a lot like how margins and element sizes operate when elements are absolutely positioned. Which leads us to the next question: what if a grid item is also absolutely positioned? For example:
.exel{grid-row:2/4;grid-column:2/5;position:absolute;top:1em;bottom:15%;left:35px;right:1rem;}
The answer is actually pretty elegant: if you’ve defined grid-line
starts and ends, that grid area is used as the containing block and
positioning context, and the grid item is positioned within that
context. That means the offset properties (top et al.) are calculated
in relation to the declared grid area. Thus, the previous CSS would have
the result shown in Figure 13-61.
Everything you know about absolutely positioned elements regarding offsets, margins, element sizing, and so on applies within this formatting context. It’s just that in this case, the formatting context is defined by a grid area.
There is a wrinkle that absolute positioning introduces: it changes the behavior of the auto value for grid-line properties. If,
for example, you set grid-column-end: auto for an
absolutely positioned grid item, the ending grid line will actually
create a new and special grid line that corresponds to the padding edge
of the grid container itself. This is true even if the explicit grid is
smaller than the grid container, as can happen.
To see this in action, we’ll modify the previous example as follows, with the result shown in Figure 13-62:
.exel{grid-row:1/auto;grid-column:2/auto;position:absolute;top:1em;bottom:15%;left:35px;right:1rem;}
Note how the positioning context now starts at the top of the grid container, and stretches all the way to the right edge of the grid container, even though the grid itself ends well short of that edge.
One implication of this behavior is that if you absolutely position an element that’s a grid item, but you don’t give it any grid-line start or end values, then it will use the inner padding edge of the grid container as its positioning context. It does this without having to set the grid container to position: relative, or any of the other usual
tricks to establish a positioning context.
Note that absolutely positioned grid items do not participate in figuring out grid cell and track sizing. As far as the grid layout is concerned, the positioned grid item doesn’t exist. Once the grid is set up, then the grid item is positioned with respect to the grid lines that define its positioning context.
As of late 2017, browsers did not support any of this absolute
positioning behavior. The only way to recreate it was to relatively
position the element establishing the grid area, and absolutely position
a child element within it. That’s how the absolute-positioning figures
in this section were created. The special auto behavior was also not
supported.
If you have any familiarity with flexbox, you’re probably aware of the various alignment properties and their values. Those same properties are also available in grid layout, and have very similar effects.
First, a quick refresher. The properties that are available and what they affect are summarized in Table 13-1.
| Property | Aligns | Applied to |
|---|---|---|
|
A grid item in the inline (horizontal) direction |
Grid items |
|
All grid items in the inline (horizontal) direction |
Grid container |
|
The entire grid in the inline (horizontal) direction |
Grid container |
|
A grid item in the block (vertical) direction |
Grid items |
|
All grid items in the block (vertical) direction |
Grid container |
|
The entire grid in the block (vertical) direction |
Grid container |
As Table 13-1 shows, the various justify-* properties change alignment
along the inline axis—in English, this will be the horizontal direction.
The difference is whether a property applies to a single grid item, all
the grid items in a grid, or the entire grid. Similarly, the
align-* properties affect alignment along the block axis; in English,
this is the vertical direction.
It’s easiest to start with the *-self properties, because we can have
one grid show various justify-self property values, while a second
grid shows the effects of those same values when used by align-self.
(See Figure 13-63.)
Each grid item in Figure 13-63 is shown with its grid area (the dashed blue line) and a label identifying the property value that’s applied to it. Each deserves a bit of commentary.
First, though, realize that for all of these values, any element that
doesn’t have an explicit width or height will “shrink-wrap” its
content, instead of using the default grid-item behavior of filling out the
entire grid area.
start and end cause the grid item to be aligned to the start or end
edge of its grid area, which makes sense. Similarly, center centers
the grid item within its area along the alignment axis, without the
need to declare margins or any other properties, including height
and width.
left and right have the expected results for horizontal alignment,
but if they’re applied to elements via align-self (which is vertical
alignment), they’re treated as start.
self-start and self-end are more interesting. self-start aligns a
grid item with the grid-area edge that corresponds to the grid item’s
start edge. So in Figure 13-63, the self-start and self-end boxes were
set to direction: rtl. That set them to use right-to-left language
direction, meaning their start edges were their right edges, and their
end edges their left. You can see in the first grid that this
right-aligned self-start and left-aligned self-end. In the second
grid, however, the RTL direction is irrelevant to block-axis alignment.
Thus, self-start was treated as start, and self-end was treated as
end.
The last value, stretch, is interesting. To understand it, notice how
the other boxes in each grid “shrink-wrap” themselves to their content.
stretch, on the other hand, directs the element to stretch from edge
to edge in the given direction—align-self: stretch causes the grid
item to stretch vertically, and justify-self: stretch causes
horizontal stretching. This is as you might expect, but bear in mind
that it works only if the element’s size properties are set to auto.
Thus, given the following styles, the first example will stretch
vertically, but the second will not:
.exel01{align-self:stretch;height:auto;}.exel02{align-self:stretch;height:50%;}
Because the second example sets a height value that isn’t auto (which
is the default value), it cannot be resized by stretch. The same holds
true for justify-self and width.
There are two more values that can be used to align grid items, but they are sufficiently interesting to merit their own explanation. These permit the alignment of a grid item’s first or last baseline with the highest or lowest baseline in the grid track. For example, suppose you wanted a grid item to be aligned so the baseline of its last line was aligned with the last baseline in the tallest grid item sharing its row track. That would look like the following:
.exel{align-self:last-baseline;}
Conversely, to align its first baseline with the lowest first baseline in the same row track, you’d say this:
.exel{align-self:baseline;}
In a situation where a grid element doesn’t have a baseline, or it’s
asked to baseline-align itself in a direction where baselines can’t be
compared, then baseline is treated as start and last-baseline is
treated as end.
There are two values that were intentionally skipped in this
section: flex-start and flex-end. These values are supposed to
be used only in flexbox layout, and are defined to be equivalent to start
and end in any other layout context, including grid layout.
Now let’s consider align-items and justify-items. These properties
accept all the same values we saw in the previous section, and have the
same effect, except they apply to all grid items in a given grid
container, and must be applied to a grid container instead of to
individual grid items.
Thus, you could set all of the grid items in a grid to be center-aligned within their grid areas as follows, with a result like that depicted in Figure 13-64:
#grid{display:grid;align-items:center;justify-items:center;}
As you can see, that horizontally and vertically centers every grid item within its given grid area. Furthermore, it causes any grid item without an explicit width and height to “shrink-wrap” its content rather than stretch out to fill their grid area. If a grid item has an explicit height and width, then those will be honored, and the item centered within its grid area.
Beyond aligning and justifying every grid item, it’s possible to
distribute the grid items, or even to justify or align the entire grid,
using align-content and justify-content. There is a small set of
distributive values for these properties. Figure 13-65 illustrates the
effects of each value as applied to justify-content, with each grid
sharing the following styles:
.grid{display:grid;padding:0.5em;margin:0.5em1em;width:auto;grid-gap:0.75em0.5em;border:1pxsolid;grid-template-rows:4em;grid-template-columns:repeat(5,6em);}
This works just as well in column tracks as it does in row tracks, as
Figure 13-66 illustrates, as long as you switch to align-content. This
time, the grids all share these styles:
.grid{display:grid;padding:0.5em;grid-gap:0.75em0.5em;border:1pxsolid;grid-template-rows:repeat(4,3em);grid-template-columns:5em;}
The way this distribution works is that the grid tracks, including any
gutters, are all sized as usual. Then, if there is any leftover space
within the grid container—that is, if the grid tracks don’t reach all
the way from one edge of the grid container to the other—then the
remaining space is distributed according to the value of
justify-content (in the horizontal) or align-content (in the
vertical).
This space distribution is carried out by resizing the grid gutters. If there are no declared gutters, there will be gutters. If there are already gutters, their sizes are altered as required to distribute the grid tracks.
Note that because space is distributed only when the tracks don’t fill out the grid container, the gutters can only increase in size. If the tracks are larger than the container, which can easily happen, there is no leftover space to distribute (negative space turns out to be indivisible).
There is another distribution value, very new as of this writing, which
wasn’t shown in the previous figures. stretch takes any leftover space
and applies it equally to the grid tracks, not the gutters. So if
there are 400 pixels of leftover space and 8 grid tracks, each grid
track is increased by 50 pixels. The grid tracks are not increased
proportionally, but equally. As of late 2017, there was no browser
support for this value in terms of grid distribution.
We’ll round out this section with examples of justifying, as opposed to distributing, grid tracks. Figure 13-67 shows the possibilities when justifying horizontally.
In these cases, the set of grid tracks is taken as a single unit, and
justified by the value of justify-content. That alignment does not
affect the alignment of individual grid items; thus, you could
end-justify the whole grid with justify-content: end while having
individual grid items be left-, center-, or start-justified (among other
options) within their grid areas.
As you might expect by now, being able to justify-content horizontally
means you can align-content vertically. Figure 13-68 shows each value in
action.
left and right don’t really make sense in a vertical context, so
they’re treated as start. The others have the effect you’d expect from
their names.
As we saw in a previous section, it’s entirely possible to have grid items overlap each other, whether because negative margins are used to pull a grid item beyond the edges of its grid area, or because the grid areas of two different grid items share grid cells. By default, the grid items will visually overlap in document source order: grid items later in the document source will appear in front of grid items earlier in the document source. Thus we see the following result in what’s depicted in Figure 13-69. (Assume the number in each class name represents the grid item’s source order.)
#grid{display:grid;width:80%;height:20em;grid-rows:repeat(10,1fr);grid-columns:repeat(10,1fr);}.box01{grid-row:1/span4;grid-column:1/span4;}.box02{grid-row:4/span4;grid-column:4/span4;}.box03{grid-row:7/span4;grid-column:7/span4;}.box04{grid-row:4/span7;grid-column:3/span2;}.box05{grid-row:2/span3;grid-column:4/span5;}
If you want to assert your own stacking order, then z-index is here to
help. Just as in positioning, z-index places elements relative to
each other on the z-axis, which is perpendicular to the display surface.
Positive values are closer to you, and negative values further away. So
to bring the second box to the “top,” as it were, all you need is to
give it a z-index value higher than any other (with the result shown
in Figure 13-70):
.box02{z-index:10;}
Another way you can affect the ordering of grid items is by using the
order property. Its effect is essentially the same as it is in
flexbox—you can change the order of grid items within a grid track by
giving them order values. This affects not only placement within the
track, but also paint order if they should overlap. For example, we
could change the previous example from z-index to order, as shown
here, and get the same result shown in Figure 13-70:
.box02{order:10;}
In this case, box02 appears “on top of” the other grid items because
its order places it after the rest of them. Thus, it’s drawn last.
Similarly, if those grid items were all placed in sequence in a grid
track, the order value for box02 would put it at the end of the
sequence. This is depicted in Figure 13-71.
Remember that just because you can rearrange the order of grid items this way, it doesn’t necessarily mean you should. As the Grid Layout specification says (section 4.2):
As with reordering flex items, the
orderproperty must only be used when the visual order needs to be out-of-sync with the speech and navigation order; otherwise the underlying document source should be reordered instead.
So the only reason to use order to rearrange grid item layout is if
you need to have the document source in one order and layout in the
other. This is already easily possible by assigning grid items to areas
that don’t match source order.
This is not to say that order is useless and should always be shunned;
there may well be times it makes sense. But unless you find yourself
nearly forced into using it by specific circumstances, think very hard
about whether it’s the best solution.
Grid layout is complex and powerful, so don’t be discouraged if you feel overwhelmed. It takes some time to get used to how grid operates, especially since so many of its features are nothing like what we’ve dealt with before. Much of those features’ power comes directly from their novelty—but like any powerful tool, it can be difficult and frustrating to learn to use. I got frustrated and confused as I wrote about grid, going down blind alleys and falling victim to two decades of instincts that had been honed on a layout-less CSS.
I hope I was able to steer you past some of those pitfalls, but still, remember the wisdom of Master Yoda: “You must unlearn what you have learned.” When coming to grid layout, there has never been greater need to put aside what you think you know about layout and learn anew. Over time, your patience and persistence will be rewarded.
You may have glanced at that title and wondered, “Table layout? Isn’t that exactly what we’re trying to avoid doing?” Indeed so, but this chapter is not about using tables for layout. Instead, it’s about the ways that tables themselves are laid out by CSS, which is a far more complicated affair than it might first appear.
Tables are unusual, compared to the rest of document layout. Until flexbox and grid came along, tables alone possessed the unique ability to associate element sizes with other elements—for example, all the cells in a row have the same height, no matter how much or how little content each individual cell might contain. The same is true for the widths of cells that share a column. Cells that adjoin can share a border, even if the two cells have very different border styles. As we’ll see, these abilities are purchased at the expense of a great many behaviors and rules—many of them rooted deep in the past—that apply to tables, and only tables.
Before we can start to worry about how cell borders are drawn and tables sized, we need to delve into the fundamental ways in which tables are assembled, and the ways that elements within a table are related. This is referred to as table formatting, and it is quite distinct from table layout: the layout is possible only after the formatting has been completed.
The first thing to understand is how CSS defines the arrangement of tables. While this knowledge may seem a bit basic, it’s key to understanding how best to style tables.
CSS draws a distinction between table elements and internal table elements. In CSS, internal table elements generate rectangular boxes that have content, padding, and borders, but not margins. Therefore, it is not possible to define the separation between table cells by giving them margins. A CSS-conformant browser will ignore any attempts to apply margins to cells, rows, or any other internal table element (with the exception of captions, which are discussed in the “Captions”).
There are six basic rules for arranging tables. The basis of these rules is a grid cell, which is one area between the grid lines on which a table is drawn. Consider Figure 14-1, in which two tables are shown: their grid cells are indicated by the dashed lines drawn over the tables.
In a simple 2 × 2 table, such as the lefthand table shown in Figure 14-1, the grid cells correspond to the actual table cells. In a more complicated table, like the righthand table in Figure 14-1, some table cells will span multiple grid cells—but note that every table cell’s edges are placed along a grid-cell edge.
These grid cells are largely theoretical constructs, and they cannot be styled or even accessed through the Document Object Model (DOM). They just serve as a way to describe how tables are assembled for styling.
Each row box encompasses a single row of grid cells. All the
row boxes in a table fill the table from top to bottom in the order they
occur in the source document (with the exception of any table-header or
table-footer row boxes, which come at the beginning and end of the
table, respectively). Thus, a table contains as many grid rows as
there are row elements (e.g., tr elements).
A row group’s box encompasses the same grid cells as the row boxes it contains.
A column box encompasses one or more columns of grid cells. All the column boxes are placed next to one another in the order they occur. The first column box is on the left for left-to-right languages, and on the right for right-to-left languages.
A column group’s box encompasses the same grid cells as the column boxes it contains.
Although cells may span several rows or columns, CSS does not define how this happens. It is instead left to the document language to define spanning. Each spanned cell is a rectangular box one or more grid cells wide and high. The top row of this spanning rectangle is in the row that is parent to the spanned grid cell. The cell’s rectangle must be as far to the left as possible in left-to-right languages, but it may not overlap any other cell box. It must also be to the right of all cells in the same row that are earlier in the source document (in a left-to-right language). In right-to-left languages, a spanned cell must be as far to the right as possible without overlapping other cells, and must be to the left of all cells in the same row that follow it in the document source.
A cell’s box cannot extend beyond the last row box of a table or row group. If the table structure would cause this condition, the cell must be shortened until it fits within the table or row group that encloses it.
The CSS specification discourages, but does not prohibit, the positioning of table cells and other internal table elements. Positioning a row that contains row-spanning cells, for example, could dramatically alter the layout of the table by removing the row from the table entirely, thus removing the spanned cells from consideration in the layout of other rows. Nevertheless, it is quite possible to apply positioning to table elements in current browsers.
By definition, grid cells are rectangular, but they do not all have to be the same size. All the grid cells in a given grid column will be the same width, and all the grid cells in a grid row will be the same height, but the height of one grid row may be different than that of another grid row. Similarly, grid columns may be of different widths.
With those basic rules in mind, a question may arise: how, exactly, do you know which elements are cells and which are not?
In HTML, it’s easy to know which elements are parts of tables because
the handling of elements like tr and td is built into browsers. In
XML, on the other hand, there is no way to intrinsically know which
elements might be part of a table. This is where a whole collection of
values for display come into play.
In this chapter, we’ll stick to the table-related values, as the others are all beyond the scope of tables. The table-related values can be summarized as follows:
tableThis value specifies that an element defines a block-level table. Thus, it defines a rectangular block that generates a block box. The corresponding HTML element is, not surprisingly, table.
inline-tableThis value specifies that an element defines an inline-level table. This means the element defines a rectangular block that generates an inline box. The closest non-table analogue is the value inline-block. The closest HTML element is table, although, by default, HTML tables are not inline.
table-rowThis value specifies that an element is a row of table cells. The corresponding HTML element is the tr element.
table-row-groupThis value specifies that an element groups one or more table rows. The corresponding HTML value is tbody.
table-header-groupThis value is very much like table-row-group, except that for visual formatting, the header row group is always displayed before all other rows and row groups, and after any top captions. In print, if a table requires multiple pages to print, a user agent may repeat header rows at the top of each page (Firefox does this, for example). The specification does not define what happens if you assign table-header-group to multiple elements. A header group can contain multiple rows. The HTML equivalent is thead.
table-footer-groupThis value is very much like table-header-group, except that the footer row group is always displayed after all other rows and row groups, and before any bottom captions. In print, if a table requires multiple pages to print, a user agent may repeat footer rows at the bottom of each page. The specification does not define what happens if you assign table-footer-group to multiple elements. This is equivalent to the HTML element tfoot.
table-columnThis value declares that an element describes a column of table cells. In CSS terms, elements with this display value are not visually rendered, as if they had the value none. Their existence is largely for the purposes of helping to define the presentation of cells within the column. The HTML equivalent is the col element.
table-column-groupThis value declares that an element groups one or more columns. Like table-column elements, table-column-group elements are not rendered, but the value is useful for defining presentation for elements within the column group. The HTML equivalent is the colgroup element.
table-cellThis value specifies that an element represents a single cell in a table. The HTML elements th and td are both examples of table-cell elements.
table-captionThis value defines a table’s caption. CSS does not define what should happen if multiple elements have the value caption, but it does explicitly warn, “authors should not put more than one element with display: caption inside a table or inline-table element.”
You can get a quick summary of the general effects of these values by taking an excerpt from the example HTML 4.0 stylesheet given in Appendix D of the CSS 2.1 specification:
table{display:table;}tr{display:table-row;}thead{display:table-header-group;}tbody{display:table-row-group;}tfoot{display:table-footer-group;}col{display:table-column;}colgroup{display:table-column-group;}td,th{display:table-cell;}caption{display:table-caption;}
In XML, where elements will not have display semantics by default, these values become quite useful. Consider the following markup:
<scores><headers><label>Team</label><label>Score</label></headers><gamesport="MLB"league="NL"><team><name>Reds</name><score>8</score></team><team><name>Cubs</name><score>5</score></team></game></scores>
This could be formatted in a tabular fashion using the following styles:
scores{display:table;}headers{display:table-header-group;}game{display:table-row-group;}team{display:table-row;}label,name,score{display:table-cell;}
The various cells could then be styled as necessary—for example, boldfacing the
label elements and right-aligning the scores.
CSS defines its table model as “row primacy.” In other words, the model assumes that authors will create markup languages where rows are explicitly declared. Columns, on the other hand, are derived from the layout of the rows of cells. Thus, the first column is made up of the first cells in each row; the second column is made up of the second cells, and so forth.
Row primacy is not a major issue in HTML, where the markup language is already row-oriented. In XML, it has more of an impact because it constrains the way in which authors can define table markup. Because of the row-oriented nature of the CSS table model, a markup language in which columns are the basis of table layout is not really possible (assuming that the intent is to use CSS to present such documents).
Although the CSS table model is row-oriented, columns do still play a
part in layout. A cell can belong to both contexts (row and column),
even though it is descended from row elements in the document source.
In CSS, however, columns and column groups can accept only four
nontable properties: border, background, width, and visibility.
In addition, each of these four properties has special rules that apply only in the columnar context:
borderBorders can be set for columns and column groups only if the property border-collapse has the value collapse. In such circumstances, column and column-group borders participate in the collapsing algorithm that sets the border styles at each cell edge. (See “Collapsing Cell Borders”.)
backgroundThe background of a column or column group will be visible only in cells where both the cell and its row have transparent backgrounds. (See “Table Layers”.)
widthThe width property defines the minimum width of the column or column group. The content of cells within the column (or group) may force the column to become wider.
visibilityIf the value of visibility for a column or column group is collapse, then none of the cells in the column (or group) are rendered. Cells that span from the collapsed column into other columns are clipped, as are cells that span from other columns into the collapsed column. Furthermore, the overall width of the table is reduced by the width the column would have taken up. A declaration of any visibility value other than collapse is ignored for a column or column group.
There is the possibility that a markup language might not contain enough elements to fully represent tables as they are defined in CSS, or that an author will forget to include all the necessary elements. For example, consider this HTML:
<table><td>Name:</td><td><inputtype="text"></td></table>
You might glance at this markup and assume that it defines a two-cell
table of a single row, but structurally, there is no element defining a
row (because the tr is missing).
To cover such possibilities, CSS defines a mechanism for inserting
“missing” table components as anonymous objects. For a basic example of
how this works, let’s revisit our missing-row HTML example. In CSS
terms, what effectively happens is that an anonymous table-row object is
inserted between the table element and its descendant table cells:
<table><!--anonymous table-row object begins--><td>Name:</td><td><inputtype="text"></td><!--anonymous table-row object ends--></table>
A visual representation of this process is given in Figure 14-2, where the dotted line represents the inserted anonymous table row.
Seven different kinds of anonymous-object insertions can occur in the CSS table model. These seven rules are, like inheritance and specificity, an example of a mechanism that attempts to impose intuitive sense on the way CSS behaves.
If a table-cell element’s parent is not a table-row element, then
an anonymous table-row object is inserted between the table-cell
element and its parent. The inserted object will include all consecutive
siblings of the table-cell element. Consider the following styles and
markup:
system{display:table;}name,moons{display:table-cell;}
<system><name>Mercury</name><moons>0</moons></system>
The anonymous table-row object is inserted between the cell elements
and the system element, and it encloses both the name and moons
elements.
The same holds true even if the parent element is a table-row-group.
To extend the example, assume that the following applies:
system{display:table;}planet{display:table-row-group;}name,moons{display:table-cell;}
<system><planet><name>Mercury</name><moons>0</moons></planet><planet><name>Venus</name><moons>0</moons></planet></system>
In this example, both sets of cells will be enclosed in an anonymous
table-row object that is inserted between them and the planet
elements.
If a table-row element’s parent is not a table, inline-table, or
table-row-group element, then an anonymous table element is inserted
between the table-row element and its parent. The inserted object will
include all consecutive siblings of the table-row element. Consider
the following styles and markup:
docbody{display:block;}planet{display:table-row;}
<docbody><planet><name>Mercury</name><moons>0</moons></planet><planet><name>Venus</name><moons>0</moons></planet></docbody>
Because the display value of the planet elements’ parent is block,
the anonymous table object is inserted between the planet elements
and the docbody element. This anonymous table object will enclose both planet
elements, since they are consecutive siblings.
If a table-column element’s parent is not a table, inline-table,
or table-column-group element, then an anonymous table element is
inserted between the table-column element and its parent. This is much
the same as the table-row rule just discussed, except for its
column-oriented nature.
If the parent element of a table-row-group, table-header-group,
table-footer-group, table-column-group, or table-caption element
is not a table element, then an anonymous table object is inserted
between the element and its parent.
If a child element of a table or inline-table element is not a
table-row-group, table-header-group, table-footer-group,
table-row, or table-caption element, then an anonymous table-row
object is inserted between the table element and its child element.
This anonymous object spans all of the consecutive siblings of the child
element that are not table-row-group, table-header-group,
table-footer-group, table-row, or table-caption elements. Consider
the following markup and styles:
system{display:table;}planet{display:table-row;}name,moons{display:table-cell;}
<system><planet><name>Mercury</name><moons>0</moons></planet><name>Venus</name><moons>0</moons></system>
Here, a single anonymous table-row object will be inserted between the system element and the second set of name and moons elements. The
planet element is not enclosed by the anonymous object because its
display is table-row.
If a child element of a table-row-group, table-header-group, or
table-footer-group element is not a table-row element, then an
anonymous table-row object is inserted between the element and its
child element. This anonymous object spans all of the consecutive
siblings of the child element that are not table-row objects
themselves. Consider the following markup and styles:
system{display:table;}planet{display:table-row-group;}name,moons{display:table-cell;}
<system><planet><name>Mercury</name><moons>0</moons></planet><name>Venus</name><moons>0</moons></system>
In this case, each set of name and moons elements will be enclosed
in an anonymous table-row element. For the second set, the insertion
happens in accord with rule 5. For the first set, the anonymous object
is inserted between the planet element and its children because the
planet element is a table-row-group element.
If a child element of a table-row element is not a table-cell
element, then an anonymous table-cell object is inserted between the
element and its child element. This anonymous object encloses all
consecutive siblings of the child element that are not table-cell
elements themselves. Consider the following markup and styles:
system{display:table;}planet{display:table-row;}name,moons{display:table-cell;}
<system><planet><name>Mercury</name><num>0</num></planet></system>
Because the element num does not have a table-related display value,
an anonymous table-cell object is inserted between the planet
element and the num element.
This behavior also extends to the encapsulation of anonymous inline
boxes. Suppose that the num element was not included:
<system><planet><name>Mercury</name>0</planet></system>
The 0 would still be enclosed in an anonymous table-cell object. To
further illustrate this point, here is an example adapted from the CSS
specification:
example{display:table-cell;}row{display:table-row;}hey{font-weight:900;}
<example><row>This is the<hey>top</hey>row.</row><row>This is the<hey>bottom</hey>row.</row></example>
Within each row element, the text fragments and hey element are
enclosed in anonymous table-cell objects.
For the assembly of a table’s presentation, CSS defines six individual “layers” on which the various aspects of a table are placed. Figure 14-3 shows these layers.
Basically, the styles for each aspect of the table are drawn on their
individual layers. Thus, if the table element has a green background
and a one-pixel black border, then those styles are drawn on the lowest
layer. Any styles for the column groups are drawn on the next layer up,
the columns themselves on the layer above that, and so on. The top
layer, which corresponds to the table cells, is drawn last.
For the most part, this is a logical process; after all, if you declare a background color for table cells, you would want that drawn over the background for the table element. The most important point revealed by Figure 14-3 is that column styles come below row styles, so a row’s background will overwrite a column’s background.
It is important to remember that by default, all elements have transparent backgrounds. Thus, in the following markup, the table element’s background will be visible “through” cells, rows, columns, and so forth that do not have a background of their own, as illustrated in Figure 14-4:
<tablestyle="background: #B84;"><tr><td>hey</td><tdstyle="background: #ABC;">there</td></tr><tr><td>what’s</td><td>up?</td></tr><trstyle="background: #CBA;"><td>not</td><tdstyle="background: #ECC;">much</td></tr></table>
A table caption is about what you’d expect: a short bit of text that
describes the nature of the table’s contents. A chart of stock quotes
for the fourth quarter of 2016, therefore, might have a caption element
whose contents read “Q4 2016 Stock Performance.” With the property
caption-side, you can place this element either above or below the
table, regardless of where the caption appears in the table’s structure.
(In HTML5, the caption element can appear only as the first child of a
table element, but other languages may have different rules.)
Captions are a bit odd, at least in visual terms. The CSS specification states that a caption is formatted as if it were a block box placed immediately before (or after) the table’s box, with one exception: the caption can still inherit values from the table.
A simple example should suffice to illustrate most of the important aspects of caption presentation. Consider the following, illustrated in Figure 14-5:
caption{background:#B84;margin:1em0;caption-side:top;}table{color:white;background:#840;margin:0.5em0;}
The text in the caption element inherits the color value white
from the table, while the caption gets its own background. The
separation between the table’s outer border edge and the caption’s outer
margin edge is 1 em, as the top margin of the table and bottom margin
of the caption have collapsed. Finally, the width of the caption is
based on the content width of the table element, which is considered
to be the containing block of the caption.
These same results would occur if we change the value of caption-side
to bottom, except that the caption would be placed after the table’s
box, and collapsing would occur between the top margin of the caption
and the bottom margin of the table.
For the most part, captions are styled just like any block-level
element: they can be padded, have borders, be given backgrounds, and so
on. For example, if we need to change the horizontal alignment of text
within the caption, we use the property text-align. Thus, to
right-align the caption in the previous example, we would write:
caption{background:gray;margin:1em0;caption-side:top;text-align:right;}
There are two quite distinct border models in CSS. The separated border model takes effect when cells are separated from each other in layout terms. The other option is the collapsed border model, in which there is no visual separation between cells, and cell borders merge, or collapse into one another. The former is the default model, although in an earlier version of CSS the latter was the default.
An author can choose between the two models with the property
border-collapse.
The whole point of this property is to offer a way to
determine which border model the user agent will employ. If the value
collapse is in effect, then the collapsing borders model is used. If
the value is separate, then the separated borders model is used. We’ll
look at the former model first, since it’s much easier to
describe, and it’s the default value.
In this model, every cell in the table is separated from the other cells by some distance, and the borders of cells do not collapse into one another. Thus, given the following styles and markup, you would see the result shown in Figure 14-6:
table{border-collapse:separate;}td{border:3pxdoubleblack;padding:3px;}tr:nth-child(2)td:nth-child(2){border-color:gray;}
<tablecellspacing="0"><tr><td>cell one</td><td>cell two</td></tr><tr><td>cell three</td><td>cell four</td></tr></table>
Note that the cell borders touch but remain distinct from one another. The three lines between cells are actually the two double borders sitting right next to each other; the gray border around the fourth cell helps make this more clear.
The HTML attribute cellspacing was included in the preceding example to make sure the cells had no separation between them, but its
presence is likely a bit troubling. After all, if you can define that
borders be separate, then there ought to be a way to use CSS to alter
the spacing between cells. Fortunately, there is.
Once you’ve separated the table cell borders, there may be situations
where you want those borders to be separated by some distance. This can
be easily accomplished with the property border-spacing, which
provides a more powerful replacement for the HTML attribute
cellspacing.
Either one or two lengths can be given for the value of this property.
If you want all your cells separated by a single pixel, then
border-spacing: 1px; will suffice. If, on the other hand, you want
cells to be separated by one pixel horizontally and five pixels
vertically, write border-spacing: 1px 5px;. If two lengths are
supplied, the first is always the horizontal separation, and the second
is always the vertical.
The spacing values are also applied between the borders of cells along
the outside of a table and the padding on the table element itself.
Given the following styles, you would get the result shown in Figure 14-7:
table{border-collapse:separate;border-spacing:5px8px;padding:12px;border:2pxsolidblack;}td{border:1pxsolidgray;}td#squeeze{border-width:5px;}
In Figure 14-7, there is a space 5 pixels wide between the borders of any
two horizontally adjacent cells, and there are 17 pixels of space
between the borders of the right- and left-most cells and the right and
left borders of the table element. Similarly, the borders of
vertically adjacent cells are 8 pixels apart, and the borders of the
cells in the top and bottom rows are 20 pixels from the top and bottom
borders of the table, respectively. The separation between cell borders
is constant throughout the table, regardless of the border widths of the
cells themselves.
Note also that if you’re going to declare a border-spacing value, it’s
done on the table itself, not on the individual cells. If
border-spacing had been declared for the td elements in the previous
example, it would have been ignored.
In the separated-border model, borders cannot be set for rows, row groups, columns, and column groups. Any border properties declared for such elements must be ignored by a CSS-conformant user agent.
Because every cell is, in a visual sense, distinct from all the other
cells in the table, what do you do with cells that are empty (i.e., have
no content)? You have two choices, which are reflected in the values of
the empty-cells property.
If empty-cells is set to show, then the borders and background of an
empty cell will be drawn, just as with table cells that have content. If
the value is hide, then no part of the cell is drawn, just as if the
cell were set to visibility: hidden.
If a cell contains any content, it cannot be considered empty.
“Content,” in this case, includes not only text, images, form elements,
and so on, but also the nonbreaking space entity ( ) and any
other whitespace except the CR (carriage return), LF (line feed), tab,
and space characters. If all the cells in a row are empty, and all have
an empty-cells value of hide, then the entire row is treated as if
the row element were set to display: none.
While the collapsing cell model largely describes how HTML tables have always been laid out when they don’t have any cell spacing, it is quite a bit more complicated than the separated borders model. There are also some rules that set collapsing cell borders apart from the separated borders model:
Elements with a display of table or inline-table cannot have any
padding when border-collapse is collapse, although they can have margins.
Thus, there is never separation between the border around the outside of
the table and the edges of its outermost cells in the collapsed borders model.
Borders can be applied to cells, rows, row groups, columns, and column groups. A table itself can, as always, have a border.
There is never any separation between cell borders in the collapsed borders model. In fact, borders collapse into each other where they adjoin, so that only one of the collapsing borders is actually drawn. This is somewhat akin to margin collapsing, where the largest margin wins. When cell borders collapse, the “most interesting” border wins.
Once they are collapsed, the borders between cells are centered on the hypothetical grid lines between the cells.
We’ll explore the last two points in more detail in the next two sections.
In order to better understand how the collapsing borders model works, let’s look at the layout of a single table row, as shown in Figure 14-8.
For each cell, the padding and content width of the cell is inside the borders, as expected. For the borders between cells, half of the border is to one side of the grid line between two cells, and the other half is to the other side. In each case, only a single border is drawn along each cell edge. You might think that half of each cell’s border is drawn to each side of the grid line, but that’s not what happens.
For example, assume that the solid borders on the middle cell are green and the solid borders on the outer two cells are red. The borders on the right and left sides of the middle cell (which collapse with the adjacent borders of the outer cells) will be all green, or all red, depending on which border wins out. We’ll discuss how to tell which one wins in the next section.
You may have noticed that the outer borders protrude past the table’s width. This is because in this model, half the table’s borders are included in the width. The other half sticks out beyond that distance, sitting in the margin itself. This might seem a bit weird, but that’s how the model is defined to work.
The specification includes a layout formula that I’ll reproduce here for the benefit of those who enjoy such things:
row width = (0.5 * border-width-0) + padding-left-1 + width-1 + padding-right-1 + border-width-1 + padding-left-2 +...+ padding-right-n + (0.5 * border-width-n)
Each border-width-n refers to the border between cell n and the next
cell; thus, border-width-3 refers to the border between the third and
fourth cells. The value n stands for the total number of cells in the
row.
There is a slight exception to this mechanism. When beginning the layout of a collapsed-border table, the user agent computes an initial left and right border for the table itself. It does this by examining the left border of the first cell in the first row of the table and by taking half of that border’s width as the table’s initial left border width. The user agent then examines the right border of the last cell in the first row and uses half that width to set the table’s initial right-border width. For any row after the first, if the left or right border is wider than the initial border widths, it sticks out into the margin area of the table.
In cases where a border is an odd number of display elements (pixels, printer dots, etc.) wide, the user agent is left to decide what to do about centering the border on the grid line. It might shift the border so that it is slightly off-center, round up or down to an even number of display elements, use anti-aliasing, or adjust anything else that seems reasonable.
When two or more borders are adjacent, they collapse into each other. In fact, they don’t collapse so much as fight it out to see which of them will gain supremacy over the others. There are some strict rules governing which borders will win and which will not:
If one of the collapsing borders has a border-style of hidden, it
takes precedence over all other collapsing borders. All borders at this
location are hidden.
If all the borders are visible, then wider borders take precedence over narrower ones. Thus, if a two-pixel dotted border and a five-pixel double border collapse, the border at that location will be a five-pixel double border.
If all collapsing borders have the same width but different border styles, then the border style
is taken in the following order, from most to least preferred: double,
solid, dashed, dotted, ridge, outset, groove, inset,
none. Thus, if two borders with the same width are collapsing, and one
is dashed while the other is outset, the border at that location
will be dashed.
If collapsing borders have the same style and width, but differ in color, then the color used is taken from an element in the following list, from most preferred to least: cell, row, row group, column, column group, table. Thus, if the borders of a cell and a column (identical in every way except color) collapse, then the cell’s border color (and style and width) will be used. If the collapsing borders come from the same type of element, such as two row borders with the same style and width but different colors, then the color is taken from borders that are further to the top and left (in left-to-right languages; otherwise, further to the top and right).
The following styles and markup, presented in Figure 14-9, help illustrate each of the four rules:
table{border-collapse:collapse;border:3pxoutsetgray;}td{border:1pxsolidgray;padding:0.5em;}#r2c1,#r2c2{border-style:hidden;}#r1c1,#r1c4{border-width:5px;}#r2c4{border-style:double;border-width:3px;}#r3c4{border-style:dotted;border-width:2px;}#r4c1{border-bottom-style:hidden;}#r4c3{border-top:13pxsolidsilver;}
<table><tr><tdid="r1c1">1-1</td><tdid="r1c2">1-2</td><tdid="r1c3">1-3</td><tdid="r1c4">1-4</td></tr><tr><tdid="r2c1">2-1</td><tdid="r2c2">2-2</td><tdid="r2c3">2-3</td><tdid="r2c4">2-4</td></tr><tr><tdid="r3c1">3-1</td><tdid="r3c2">3-2</td><tdid="r3c3">3-3</td><tdid="r3c4">3-4</td></tr><tr><tdid="r4c1">4-1</td><tdid="r4c2">4-2</td><tdid="r4c3">4-3</td><tdid="r4c4">4-4</td></tr></table>
Let’s consider what happened for each of the cells, in turn:
For cells 1-1 and 1-4, the five-pixel borders were wider than any of their adjacent borders, so they won out not only over adjoining cell borders, but over the border of the table itself. The only exception is the bottom of cell 1-1, which was suppressed.
The bottom border on cell 1-1 was suppressed because cells 2-1 and 2-2, with their explicitly hidden borders, completely remove any borders from the edge of the cells. Again, the table’s border lost out (on the left edge of cell 2-1) to a cell’s border. The bottom border of cell 4-1 was also hidden, and so it prevented any border from appearing below the cell.
The three-pixel double border of cell 2-4 was overridden on top by the five-pixel solid border of cell 1-4. Cell 2-4’s border, in turn, overrode the border between itself and cell 2-3 because it was both wider and “more interesting.” Cell 2-4 also overrode the border between itself and cell 3-4, even though both are the same width, because 2-4’s double style is defined to be “more interesting” than 3-4’s dotted border.
The 13-pixel bottom silver border of cell 3-3 not only overrode the top border of cell 4-3, but it also affected the layout of content within both cells and the rows that contain both cells.
For cells along the outer edge of the table that aren’t specially styled, their one-pixel solid borders are overridden by the three-pixel outset border on the table element itself.
This is, in fact, about as complicated as it sounds, although the behaviors are largely intuitive and make a little more sense with practice. It’s worth noting, though, that the basic Netscape 1.1-era table presentation can be captured with a fairly simple set of rules, described here and illustrated by Figure 14-10:
table{border-collapse:collapse;border:2pxoutsetgray;}td{border:1pxinsetgray;}
Now that we’ve dug into the guts of table formatting and cell border appearance, we have the pieces we need to understand the sizing of tables and their internal elements. When it comes to determining table width, there are two different approaches: fixed-width layout and automatic-width layout. Heights are calculated automatically, no matter what width algorithms are used.
Since there are two different ways to figure out the width of a table,
it’s only logical that there be a way to declare which should be used
for a given table. Authors can use the property table-layout to select
between the two kinds of table width calculation.
While the two models can have different results in laying out a given table, the fundamental difference between the two is that of speed. With a fixed-width table layout, the user agent can calculate the layout of the table more quickly than is possible in the automatic-width model.
The main reason the fixed-layout model is so fast is that its layout does not depend on the contents of table cells. Instead, it’s driven by the width values of the table, columns, and cells within that table.
The fixed-layout model works in the following steps:
Any column element whose width property has a value other than
auto sets the width for that entire column.
If a column has an auto width, but the cell in the first row of the
table within that column has a width other than auto, then the cell
sets the width for that entire column. If the cell spans multiple
columns, then the width is divided between the columns.
Any columns that are still auto-sized are sized so that their widths are as equal as possible.
At that point, the width of the table is set to be either the value of
width for the table or the sum of the column widths, whichever is
greater. If the table turns out to be wider than its columns, then the
difference is divided by the number of columns and the result is added to each of
them.
This approach is fast because all of the column widths are defined by
the first row of the table. The cells in any rows that come after the
first are sized according to the column widths that were defined by the
first row. The cells in those following rows do not—indeed,
cannot—change column widths, which means that any width value assigned
to those cells will be ignored. In cases where a cell’s content does not
fit into its cell, the overflow value for the cell determines whether
the cell contents are clipped, visible, or generate a scrollbar.
Let’s consider the following styles and markup, which are illustrated in Figure 14-11:
table{table-layout:fixed;width:400px;border-collapse:collapse;}td{border:1pxsolid;}col#c1{width:200px;}#r1c2{width:75px;}#r2c3{width:500px;}
<table><colgroup><colid="c1"><colid="c2"><colid="c3"><colid="c4"></colgroup><tr><tdid="r1c1">1-1</td><tdid="r1c2">1-2</td><tdid="r1c3">1-3</td><tdid="r1c4">1-4</td></tr><tr><tdid="r2c1">2-1</td><tdid="r2c2">2-2</td><tdid="r2c3">2-3</td><tdid="r2c4">2-4</td></tr><tr><tdid="r3c1">3-1</td><tdid="r3c2">3-2</td><tdid="r3c3">3-3</td><tdid="r3c4">3-4</td></tr><tr><tdid="r4c1">4-1</td><tdid="r4c2">4-2</td><tdid="r4c3">4-3</td><tdid="r4c4">4-4</td></tr></table>
As you can see in Figure 14-11, the first column is 200 pixels wide, which
happens to be half the 400-pixel width of the table. The second column
is 75 pixels wide, because the first-row cell within that column has been
assigned an explicit width. The third and fourth columns are each 61
pixels wide. Why? Because the sum of the column widths for the first and
second columns (275 pixels), plus the various borders between columns (3 pixels),
equals 278 pixels. 400 minus 278 is 122, and that divided in half is 61,
so that’s how many pixels wide the third and fourth columns will be.
What about the 500-pixel width for #r2c3? It’s ignored because that
cell isn’t in the first row of the table.
Note that it is not absolutely necessary that the table have an explicit
width value to make use of the fixed-width layout model, although it
definitely helps. For example, given the following, a user agent could
calculate a width for the table that is 50 pixels narrower than the
parent element’s width. It would then use that calculated width in the
fixed-layout algorithm:
table{table-layout:fixed;margin:025px;width:auto;}
This is not required, however. User agents are also permitted to lay out
any table with an auto value for width using the automatic-width
layout model.
The automatic-width layout model, while not as fast as fixed layout, is
probably much more familiar to you because it’s substantially the same
model that HTML tables have used for years. In most current user agents,
use of this model will be triggered by a table having a width of
auto, regardless of the value of table-layout, although this is not
assured.
The reason automatic layout is slower is that the table cannot be laid out until the user agent has looked at all of the content in the table. That is, it requires that the user agent lay out the entire table in a fashion that takes the contents and styles of every cell into account. This generally requires the user agent to perform some calculations and then go back through the table to perform a second set of calculations.
The content has to be fully examined because, as with HTML tables, the table’s layout is dependent on the content in all the cells. If there is a 400-pixel-wide image in a cell in the last row, then it will force all of the cells above it (those in the same column) to be at least 400 pixels wide. Thus, the width of every cell has to be calculated, and adjustments must be made (possibly triggering another round of content-width calculations) before the table can be laid out.
The details of the model can be expressed in the following steps:
For each cell in a column, calculate both the minimum and maximum cell width.
Determine the minimum width required to display the content. In
determining this minimum content width, the content can flow to any
number of lines, but it may not stick out of the cell’s box. If the cell
has a width value that is larger than the minimum possible width, then
the minimum cell width is set to the value of width. If the cell’s
width value is auto, then the minimum cell width is set to the
minimum content width.
For the maximum width, determine the width required to display the
content without any line breaking other than that forced by explicit
line breaking (e.g., the <br> element). That value is the maximum cell
width.
For each column, calculate both the minimum and maximum column width.
The column’s minimum width is determined by the largest minimum cell
width of the cells within the column. If the column has been given an
explicit width value that is larger than any of the minimum cell
widths within the column, then the minimum column width is set to the
value of width.
For the maximum width, take the largest maximum cell width of the
cells within the column. If the column has been given an explicit
width value that is larger than any of the maximum cell widths within
the column, then the maximum column width is set to the value of
width. These two behaviors recreate the traditional HTML table
behavior of forcibly expanding any column to be as wide as its widest
cell.
In cases where a cell spans more than one column, then the sum of the minimum column widths must be equal to the minimum cell width for the spanning cell. Similarly, the sum of the maximum column widths has to equal the spanning cell’s maximum width. User agents should divide any changes in column widths equally among the spanned columns.
In addition, the user agent must take into account that when a column width has a percentage value for its width, the percentage is calculated in relation to the width of the table—even though it doesn’t yet know what that will be! It instead has to hang on to the percentage value and use it in the next part of the algorithm.
At this point, the user agent will have figured how wide or narrow each column can be. With that information in hand, it can then proceed to actually figuring out the width of the table. This happens as follows:
If the computed width of the table is not auto, then the computed
table width is compared to the sum of all the column widths plus any
borders and cell spacing. (Columns with percentage widths are likely
calculated at this time.) The larger of the two is the final width of
the table. If the table’s computed width is larger than the sum of the
column widths, borders, and cell spacing, then the difference is divided
by the number of columns and the result is added to each of them.
If the computed width of the table is auto, then the final width
of the table is determined by adding up the column widths, borders, and
cell spacing. This means that the table will be only as wide as needed
to display its content, just as with traditional HTML tables. Any
columns with percentage widths use that percentage as a constraint—but
one that a user agent does not have to satisfy.
Once the last step is completed, then—and only then—can the user agent actually lay out the table.
The following styles and markup, presented in Figure 14-12, help illustrate how this process works:
table{table-layout:auto;width:auto;border-collapse:collapse;}td{border:1pxsolid;padding:0;}col#c3{width:25%;}#r1c2{width:40%;}#r2c2{width:50px;}#r2c3{width:35px;}#r4c1{width:100px;}#r4c4{width:1px;}
<table><colgroup><colid="c1"><colid="c2"><colid="c3"><colid="c4"></colgroup><tr><tdid="r1c1">1-1</td><tdid="r1c2">1-2</td><tdid="r1c3">1-3</td><tdid="r1c4">1-4</td></tr><tr><tdid="r2c1">2-1</td><tdid="r2c2">2-2</td><tdid="r2c3">2-3</td><tdid="r2c4">2-4</td></tr><tr><tdid="r3c1">3-1</td><tdid="r3c2">3-2</td><tdid="r3c3">3-3</td><tdid="r3c4">3-4</td></tr><tr><tdid="r4c1">4-1</td><tdid="r4c2">4-2</td><tdid="r4c3">4-3</td><tdid="r4c4">4-4</td></tr></table>
Let’s consider what happened for each of the columns, in turn:
For the first column, the only explicit cell or column width is that
of cell 4-1, which was given a width of 100px. Because the content
is so short, both the minimum and maximum column widths are set to 100px. (If
there were a cell in the column with several sentences of text, it would
have increased the maximum column width to whatever width necessary to
display all of the text without line breaking.)
For the second column, two widths were declared: cell 1-2 was given
a width of 40%, and cell 2-2 was given a width of 50px. The minimum
width of this column is 50px, and the maximum width is 40% of the final table width.
For the third column, only cell 3-3 had an explicit width (35px),
but the column itself was given a width of 25%. Therefore, the
minimum column width is 35 pixels, and the maximum width is 25% of the final
table width.
For the fourth column, only cell 4-4 was given an explicit width (1px).
This is smaller than the minimum content width, so both
the minimum and maximum column widths are equal to the minimum content
width of the cells. This turns out to be a computed 22 pixels, so the
minimum and maximum widths are both 22 pixels.
The user agent now knows that the four columns have minimum and maximum widths as follows:
Minimum 100 px, maximum 100 px
Minimum 50 px, maximum 40%
Minimum 35 px, maximum 25%
Minimum 25 px, maximum 22 px
Thus, the table’s minimum width is the sum of all the column minimums,
plus the borders collapsed between the columns, which totals 215 pixels.
The table’s maximum width is 123px + 65%, where the 123px comes from the
first and last columns and their shares of the collapsed borders.
This maximum works out to be 351.42857142857143 pixels (given that
123px represents 35% of the overall table width). With this number in hand,
the second column will be 140.5 pixels wide, and the third column will be
87.8 pixels wide. These may be rounded by the user agent to whole numbers
such as 141px and 88px, or not, depending on the exact rendering method
used. (These are the numbers used in Figure 14-12.)
Note that it is not required that user agents actually use the maximum value; they may choose another course of action.
This was (although it may not seem like it) a comparatively simple and straightforward example: all of the content was basically the same width, and most of the declared widths were pixel lengths. In a situation where a table contains images, paragraphs of text, form elements, and so forth, the process of figuring out the table’s layout is likely to be a great deal more complicated.
After all of the effort that was expended in figuring out the width of the table, you might well wonder how much more complicated height calculation will be. Actually, in CSS terms, it’s pretty simple, although browser developers probably don’t think so.
The easiest situation to describe is one in which the table height is
explicitly set via the height property. In such cases, the height of
the table is defined by the value of height. This means that a table
may be taller or shorter than the sum of its row heights. Note that
height is treated much more like min-height for tables, so if you
define a height value that’s smaller than the sum total of the row
heights, it may appear to be ignored.
By contrast, if the height value of a table is greater than the total
of its row heights, the specification explicitly refuses to define what
should happen, instead noting that the issue may be resolved in future
versions of CSS. A user agent could expand the table’s rows to fill out
its height, or leave blank space inside the table’s box, or something
completely different. It’s up to each user agent to decide.
As of late 2017, the most common behavior of user agents was to increase the heights of the rows in a table to fill out its overall height. This was accomplished by taking the difference between the table height and the sum of the row heights, dividing it by the number of rows, and applying the resulting amount to each row.
If the height of the table is auto, then its height is the sum of
the heights of all the rows within the table, plus any borders and cell
spacing. To determine the height of each row, the user agent goes
through a process similar to that used to find the widths of columns. It
calculates a minimum and maximum height for the contents of each cell
and then uses these to derive a minimum and maximum height for the row.
After having done this for all the rows, the user agent figures out what
each row’s height should be, stacks them all on top of one another, and
uses the total to determine the table’s height. It’s a lot like inline
layout, only with less certainty in how things should be done.
In addition to what to do about tables with explicit heights and how to treat row heights within them, you can add the following to the list of things CSS does not define:
The effect of a percentage height for table cells.
The effect of a percentage height for table rows and row groups.
How a row-spanning cell affects the heights of the rows that are spanned, except that the rows have to contain the spanning cell.
As you can see, height calculations in tables are largely left up to user agents to figure out. Historical evidence would suggest that this will lead to each user agent doing something different, so you should probably avoid setting table heights as much as possible.
In a rather interesting turn of events, alignment of content within cells is a lot better defined than cell and row heights. This is true even for vertical alignment, which can quite easily affect the height of a row.
Horizontal alignment is the simplest. To align content within a cell,
you use the text-align property. In effect, the cell is treated as a
block-level box, and all of the content within it is aligned as per the
text-align value.
To vertically align content in a table cell, vertical-align is the
relevant property. It uses many of the same values that are used for
vertically aligning inline content, but the meanings of those values
change when applied to a table cell. To summarize the three simplest
cases:
topThe top of the cell’s content is aligned with the top of its row; in the case of row-spanning cells, the top of the cell’s content is aligned with the top of the first row it spans.
bottomThe bottom of the cell’s content is aligned with the bottom of its row; in the case of row-spanning cells, the bottom of the cell’s content is aligned with the bottom of the last row it spans.
middleThe middle of the cell’s content is aligned with the middle of its row; in the case of row-spanning cells, the middle of the cell’s content is aligned with the middle of all the rows it spans.
These are illustrated in Figure 14-13, which uses the following styles and markup:
table{table-layout:auto;width:20em;border-collapse:separate;border-spacing:3px;}td{border:1pxsolid;background:silver;padding:0;}div{border:1pxdashedgray;background:white;}#r1c1{vertical-align:top;height:10em;}#r1c2{vertical-align:middle;}#r1c3{vertical-align:bottom;}
<table><tr><tdid="r1c1"><div>The contents of this cell are top-aligned.</div></td><tdid="r1c2"><div>The contents of this cell are middle-aligned.</div></td><tdid="r1c3"><div>The contents of this cell are bottom-aligned.</div></td></tr></table>
In each case, the alignment is carried out by automatically increasing the padding of the cell itself to achieve the desired effect. In the first cell in Figure 14-13, the bottom padding of the cell has been changed to equal the difference between the height of the cell’s box and the height of the content within the cell. For the second cell, the top and bottom padding of the cell have been reset to be equal, thus vertically centering the content of the cell. In the last cell, the cell’s top padding has been altered.
The fourth possible value alignment is baseline, and it’s a little more
complicated that the first three:
baselineThe baseline of the cell is aligned with the baseline of its row; in the case of row-spanning cells, the baseline of the cell is aligned with the baseline of the first row it spans.
It’s easiest to provide an illustration (Figure 14-14) and then discuss what’s happening.
A row’s baseline is defined by the lowest initial cell baseline (that is, the baseline of the first line of text) out of all its cells. Thus, in Figure 14-14, the row’s baseline was defined by the third cell, which has the lowest initial baseline. The first two cells then have the baseline of their first line of text aligned with the row’s baseline.
As with top, middle, and bottom alignment, the placement of baseline-aligned cell content is accomplished by altering the top and bottom padding of the cells. In cases where none of the cells in a row are baseline-aligned, the row does not even have a baseline—it doesn’t really need one.
The detailed process for aligning cell contents within a row is as follows:
If any of the cells are baseline-aligned, then the row’s baseline is determined and the content of the baseline-aligned cells is placed.
Any top-aligned cell has its content placed. The row now has a provisional height, which is defined by the lowest cell bottom of the cells that have already had their content placed.
If any remaining cells are middle- or bottom-aligned, and the content height is taller than the provisional row height, the height of the row is increased to enclose the tallest of those cells.
All remaining cells have their content placed. In any cell whose contents are shorter than the row height, the cell’s padding is increased in order to match the height of the row.
The vertical-align values sub, super, text-top, and
text-bottom are supposed to be ignored when applied to table cells.
Instead, they seem to all treated as if they are baseline, or possibly
top.
Even if you’re quite familiar with table layout from years of table-and-spacer design, it turns out that the mechanisms driving such layout are rather complicated. Thanks to the legacy of HTML table construction, the CSS table model is row-centric, but it does, thankfully, accommodate columns and limited column styling. Thanks to new abilities to affect cell alignment and table width, you now have even more tools for presenting tables in a pleasing way.
The ability to apply table-related display values to arbitrary elements
opens the door to creating table-like layouts using HTML elements such
as div and section, or in XML languages where any element could be
used to describe table components.
In the realm of CSS layout, lists are an interesting case. The items in a list are simply block boxes, but with an extra bit that doesn’t really participate in the document layout hanging off to one side. With an ordered list, that extra bit contains a series of increasing numbers (or letters) that are calculated and mostly formatted by the user agent, not the author. Taking a cue from the document structure, the user agent generates the numbers and their basic presentation.
None of this content generation could be described in CSS1 terms—and, therefore, it couldn’t be controlled—but CSS2 introduced features that allow list-item numbering to be described. As a result, CSS now lets you, the author, define your own counting patterns and formats, and associate those counters with any element, not just ordered list items. Furthermore, this basic mechanism makes it possible to insert other kinds of content, including text strings, attribute values, or even external resources into a document. Thus, it becomes possible to use CSS to insert link icons, editorial symbols, and more into a design without having to create extra markup.
To see how all these list options fit together, we’ll explore basic list styling before moving on to examine the generation of content and counters.
In a sense, almost anything that isn’t narrative text can be considered a list. The US Census, the solar system, my family tree, a restaurant menu, and even all of the friends you’ve ever had can be represented as a list, or perhaps as a list of lists. These many variations make lists fairly important, which is why it’s a shame that list styling in CSS isn’t more sophisticated.
The simplest (and best-supported) way to affect a list’s styles is to change its marker type. The marker of a list item is, for example, the bullet that appears next to each item in an unordered list. In an ordered list, the marker could be a letter, number, or a symbol from some other counting system. You can even replace the markers with images. All of these are accomplished using the different list-style properties.
To change the type of marker used for a list’s items, use the property list-style-type.
That’s quite a few keywords, I know—and that’s not even all the values that list-style-type has historically borne! Some, such as urdu and hangul-consonant, are supported by one browser or another, but none of the older values have widespread support. By contrast, the list of values shown above has nearly universal support. Some examples are shown in Figure 15-1.
The list-style-type property, as well as all other list-related properties, can be applied only to an element that has a display of list-item, but CSS doesn’t distinguish between ordered and unordered list items. Thus, you can set an ordered list to use discs instead of numbers. In fact, the default value of list-style-type is disc, so you might theorize that without explicit declarations to the contrary, all lists (ordered or unordered) will use discs as the marker for each item. This would be logical, but, as it turns out, it’s up to the user agent to decide. Even if the user agent doesn’t have a predefined rule such as ol {list-style-type: decimal;}, it may prohibit ordered markers from being applied to unordered lists, and vice versa. You can’t count on this, so be careful.
Historically, user agents treated any unrecognized keyword value as decimal, as per CSS 2.1. The CSS Lists and Counters Module is less precise about this, as of early 2017, and appears to allow a fallback to either disc or none. (Chrome, for example, defaults to none if an ordered list type is applied to an unordered list.)
If you want to suppress the display of markers altogether, then none is the value you should use. none causes the user agent to refrain from putting anything where the marker would ordinarily be, although it does not interrupt the counting in ordered lists. Thus, the following markup would have the result shown in Figure 15-2:
olli{list-style-type:decimal;}li.off{list-style-type:none;}
<ol><li>Item the first<liclass="off">Item the second<li>Item the third<liclass="off">Item the fourth<li>Item the fifth</ol>
list-style-type is inherited, so if you want to have different styles of markers in nested lists, you’ll likely need to define them individually. You may also have to explicitly declare styles for nested lists because the user agent’s style sheet may have already defined them. For example, assume that a user agent has the following styles defined:
ul{list-style-type:disc;}ulul{list-style-type:circle;}ululul{list-style-type:square;}
If this is the case—and it’s likely that this, or something like it, will be—you will have to declare your own styles to overcome the user agent’s styles. Inheritance won’t be enough.
CSS also allows authors to supply string values as list markers. This opens the field to anything you can input from the keyboard, as long as you don’t mind having the same string used for every marker in the list. Figure 15-3 shows the results of the following styles:
.list01{list-style-type:"%";}.list02{list-style-type:"Hi! ";}.list03{list-style-type:"†";}.list04{list-style-type:"⌘";}.list05{list-style-type:"";}
Sometimes, a regular text marker just won’t do. You might prefer to use an image for each marker, which is possible with the property list-style-image.
Here’s how it works:
ulli{list-style-image:url(ohio.gif);}
Yes, it’s really that simple. One simple url() value, and you’re putting images in for markers, as you can see in Figure 15-4.
Of course, you should exercise care in the images you use, as the example shown in Figure 15-5 makes painfully clear:
ulli{list-style-image:url(big-ohio.gif);}
It’s generally a good idea to provide a fallback marker type in case your image doesn’t load, gets corrupted, or is in a format that some user agents can’t display. Do this by defining a backup list-style-type for the list:
ulli{list-style-image:url(ohio.png);list-style-type:square;}
The other thing you can do with list-style-image is set it to the default value of none. This is good practice because list-style-image is inherited, so any nested lists will pick up the image as the marker, unless you prevent that from happening:
ul{list-style-image:url(ohio.gif);list-style-type:square;}ulul{list-style-image:none;}
Since the nested list inherits the item type square but has been set to use no image for its markers, squares are used for the markers in the nested list, as shown in Figure 15-6.
Remember that this scenario might not occur in the real world: a user agent may have already defined a list-style-type for ul ul, so the value of square won’t be inherited after all. Instead, you might get a circle, disc, or other symbol.
Any image value is permitted for list-style-image, including gradient images. Thus, the following styles would have a result like that shown in Figure 15-7:
.list01{list-style-image:radial-gradient(closest-side,orange,orange60%,blue60%,blue95%,transparent);}.list02{list-style-image:linear-gradient(45deg,red,red50%,orange50%,orange);}.list03{list-style-image:repeating-linear-gradient(-45deg,red,red1px,yellow1px,yellow3px);}.list04{list-style-image:radial-gradient(farthest-sideatbottomright,lightblue,lightblue50%,violet,indigo,blue,green,yellow,orange,red,lightblue);}
There is one drawback to gradient markers: they tend to be very small. The size isn’t something that CSS allows you to control, so you’re stuck with whatever the browser decides is a good size. This size can be influenced by things like font size, because the marker size tends to scale with the list item’s content, but that’s about it.
There is one other thing you can do to influence the appearance of list items under CSS: decide whether the marker appears outside or inside the content of the list item. This is accomplished with list-style-position.
If a marker’s position is set to outside (the default), it will appear the way list items have since the beginning of the web. Should you desire a slightly different appearance, you can pull the marker in toward the content by setting the value of list-style-position to inside. This causes the marker to be placed “inside” the list item’s content. The exact way this happens is undefined, but Figure 15-8 shows one possibility:
li.first{list-style-position:inside;}li.second{list-style-position:outside;}
In practice, markers given an inside placement are treated as if they’re an inline element inserted into the beginning of the list item’s content. This doesn’t mean the markers actually are inline elements—you can’t style them separately from the rest of the element’s content, unless you wrap all the other content in an element like span. It’s just that in layout terms, that’s what they act like.
For brevity’s sake, you can combine the three list-style properties into a convenient single property: list-style.
For example:
li{list-style:url(ohio.gif)squareinside;}
As you can see in Figure 15-9, all three values are applied to the list items.
The values for list-style can be listed in any order, and any of them can be omitted. As long as one is present, the rest will fill in their default values. For instance, the following two rules will have the same visual effect:
li.norm{list-style:url(img42.gif);}li.odd{list-style:url(img42.gif)discoutside;}/* the same thing */
They will also override any previous rules in the same way. For example:
li{list-style-type:square;}li{list-style:url(img42.gif);}li{list-style:url(img42.gif)discoutside;}/* the same thing */
The result will be the same as that in Figure 15-9 because the implied list-style-type value of disc will override the previous declared value of square, just as the explicit value of disc overrides it in the second rule.
Now that we’ve looked at the basics of styling list markers, let’s consider how lists are laid out in various browsers. We’ll start with a set of three list items devoid of any markers and not yet placed within a list, as shown in Figure 15-10.
The border around the list items shows them to be, essentially, like block-level elements. Indeed, the value list-item is defined to generate a block box. Now let’s add markers, as illustrated in Figure 15-11.
The distance between the marker and the list item’s content is not defined by CSS, and CSS does as yet not provide a way to affect that distance.
With the markers outside the list items’ content, they don’t affect the layout of other elements, nor do they really even affect the layout of the list items themselves. They just hang a certain distance from the edge of the content, and wherever the content edge goes, the marker will follow. The behavior of the marker works much as though the marker were absolutely positioned in relation to the list-item content, something like position: absolute; left: -1.5em;. When the marker is inside, it acts like an inline element at the beginning of the content.
So far, we have yet to add an actual list container; in other words, there is neither a ul nor an ol element represented in the figures. We can add one to the mix, as shown in Figure 15-12 (it’s represented by a dashed border).
Like the list items, the list element is a block box, one that encompasses its descendant elements. As we can see, however, the markers are not only placed outside the list item contents, but also outside the content area of the list element. The usual “indentation” you expect from lists has not yet been specified.
Most browsers, as of this writing, indent list items by setting either padding or margins for the containing list element. For example, the user agent might apply a rule such as:
ul,ol{margin-left:40px;}
This is the basic rule employed by Internet Explorer and Opera. Most Gecko-based browsers, on the other hand, use a rule something like this:
ul,ol{padding-left:40px;}
Neither is incorrect, but the discrepancy can lead to problems if you want to eliminate the indentation of the list items. Figure 15-13 shows the difference between the two approaches.
The distance of 40px is a relic of early web browsers, which indented lists by a pixel amount. (Block quotes are indented by the same distance.) An alternate value might be something like 2.5em, which would scale the indentation along with changes in the text size.
For authors who want to change the indentation distance of lists, I strongly recommend that you specify both padding and margins to ensure cross-browser compatibility. For example, if you want to use padding to indent a list, use this rule:
ul{margin-left:0;padding-left:1em;}
If you prefer margins, write something like this instead:
ul{margin-left:1em;padding-left:0;}
In either case, remember that the markers will be placed relative to the contents of the list items, and may therefore “hang” outside the main text of a document, or even beyond the edge of the browser window. This is most easily observed if very large images, or long text strings, are used for the list markers, as shown in Figure 15-14.
CSS defines methods to create what’s called generated content. This is content inserted via CSS, but not represented either by markup or content.
For example, list markers are generated content. There is nothing in the markup of a list item that directly represents the markers, and you, the author, do not have to write the markers into your document’s content. The browser simply generates the appropriate marker automatically. For unordered lists, the marker will a symbol of some kind, such as a circle, disc, or square. In ordered lists, the marker is by default a counter that increments by one for each successive list item. (Or, as we saw in previous sections, you may replace either kind with an image or symbol.)
To understand how you can affect list markers and customize the counting of ordered lists (or anything else!), you must first look at more basic generated content.
To insert generated content into the document, use the ::before and ::after pseudo-elements. These place generated content before or after the content of an element by way of the content property (described in the next section).
For example, you might want to precede every hyperlink with the text “(link)” to mark them for printing. This is accomplished with a rule like the following, which has the effect shown in Figure 15-15:
a[href]::before{content:"(link)";}
Note that there isn’t a space between the generated content and the element content. This is because the value of content in the previous example doesn’t include a space. You could modify the declaration as follows to make sure there’s a space between generated and actual content:
a[href]::before{content:"(link) ";}
It’s a small difference but an important one.
In a similar manner, you might choose to insert a small icon at the end of links to PDF documents. The rule to accomplish this would look something like:
a.pdf-doc::after{content:url(pdf-doc-icon.gif);}
Suppose you want to further style such links by placing a border around them. This is done with a second rule:
a.pdf-doc{border:1pxsolidgray;}
The result of these two rules is illustrated in Figure 15-16.
Notice how the link border extends around the generated content, just as the link underline extended under the “(link)” text in Figure 15-15. This happens because by default, generated content is placed inside the element box of the element (unless the generated content is a list marker).
You can float or position generated content outside its parent element’s box. CSS2 did not permit this, but advances in CSS and browser support removed this restriction. Similarly, the old restrictions about what kinds of display values could be given to generated content have been erased, so that you apply block formatting to the generated content of an inline box, and vice versa. For example, consider:
em::after{content:" (!) ";display:block;}
Even though em is an inline element, the generated content will generate a block box. Similarly, given the following code, the generated content is made block-level:
h1::before{content:"New Section";display:block;color:gray;}
The result is illustrated in Figure 15-17.
One interesting aspect of generated content is that it inherits values from the element to which it’s been attached. Thus, given the following rules, the generated text will be green, the same as the content of the paragraphs:
p{color:green;}p::before{content:"::: ";}
If you want the generated text to be purple instead, a simple declaration will suffice:
p::before{content:"::: ";color:purple;}
Such value inheritance happens only with inherited properties, of course. This is worth noting because it influences how certain effects must be approached. Consider:
h1{border-top:3pxsolidblack;padding-top:0.25em;}h1::before{content:"New Section";display:block;color:gray;border-bottom:1pxdottedblack;margin-bottom:0.5em;}
Since the generated content is placed inside the element box of the h1, it will be placed under the top border of the element. It would also be placed within any padding, as shown in Figure 15-18.
The bottom margin of the generated content, which has been made block-level, pushes the actual content of the element downward by half an em. In every sense, the effect of the generated content in this example is to break up the h1 element into two pieces: the generated-content box and the actual content box. This happens because the generated content has display: block. If you were to change it to display: inline, the effect would be as shown in Figure 15-19:
h1{border-top:3pxsolidblack;padding-top:0.25em;}h1::before{content:"New Section";display:inline;color:gray;border-bottom:1pxdottedblack;margin-bottom:0.5em;}
Note how the borders are placed and how the top padding is still honored. So is the bottom margin on the generated content, but since the generated content is now inline and margins don’t affect line height, the margin has no visible effect.
With the basics of generating content established, let’s take a closer look at the way the actual generated content is specified.
If you’re going to generate content, you need a way to describe the content to be generated. As you’ve already seen, this is handled with the content property, but there’s a great deal more to this property than you’ve seen thus far.
You’ve already seen string and URI values in action, and counters will be covered later in this chapter. Let’s talk about strings and URIs in a little more detail before we take a look at the attr( ) and quote values.
String values are presented literally, even if they contain what would otherwise be markup of some kind. Therefore, the following rule would be inserted verbatim into the document, as shown in Figure 15-20:
h2::before{content:"<em>¶</em> ";color:gray;}
This means that if you want a newline (return) as part of your generated content, you can’t use <br>. Instead, you use the string \A, which is the CSS way of representing a newline (based on the Unicode line-feed character, which is hexadecimal position A). Conversely, if you have a long string value and need to break it up over multiple lines, you escape out the line feeds with the \ character. These are both demonstrated by the following rule and illustrated in Figure 15-21:
h2::before{content:"We insert this text before all H2 elements because \it is a good idea to show how these things work. It may be a bit long \but the point should be clearly made. ";color:gray;}
You can also use escapes to refer to hexadecimal Unicode values, such as \00AB.
As of this writing, support for inserting escaped content such as \A and \00AB is not very widespread, even among those browsers that support some generated content.
With URI values, you simply point to an external resource (an image, movie, sound clip, or anything else the user agent supports), which is then inserted into the document in the appropriate place. If the user agent can’t support the resource you point it to for any reason—say, you try to insert an SVG image into a browser that doesn’t understand SVG, or try to insert a movie into a document when it’s being printed—then the user agent is required to ignore the resource completely, and nothing will be inserted.
There are situations where you might want to take the value of an element’s attribute and make it a part of the document display. To pick a simple example, you can place the value of every link’s href attribute immediately after the links, like this:
a[href]::after{content:attr(href);}
Again, this leads to the problem of the generated content running smack into the actual content. To solve this, add some string values to the declaration, with the result shown in Figure 15-22:
a[href]::after{content:" ["attr(href)"]";}
This can be useful for print style sheets, as an example. Any attribute value can be inserted as generated content: alt text, class or id values—anything. An author might choose to make the citation information explicit for a block quote, like this:
blockquote::after{content:"("attr(cite)")";display:block;text-align:right;font-style:italic;}
For that matter, a more complicated rule might reveal the text- and link-color values for a legacy document:
body::before{content:"Text: "attr(text)" | Link: "attr(link)" | Visited: "attr(vlink)" | Active: "attr(alink);display:block;padding:0.33em;border:1pxsolid;text-align:center;color:red;}
Note that if an attribute doesn’t exist, an empty string is put in its place. This is what happens in Figure 15-23, in which the previous example is applied to a document whose body element has no alink attribute.
The text “Active: ” (including the trailing space) is inserted into the document, as you can see, but there is nothing following it. This is convenient in situations where you want to insert the value of an attribute only when it exists.
A specialized form of generated content is the quotation mark, and CSS2.x provides a powerful way to manage both quotes and their nesting behavior. This is possible due to the pairing of content values like open-quote and the property quotes.
Upon studying the value syntax, we find that other than the keywords none and inherit, the only valid value is one or more pairs of strings. The first string of the pair defines the open-quote symbol, and the second defines the close-quote symbol. Therefore, of the following two declarations, only the first is valid:
quotes:'"'"'";/* valid */quotes:'"';/* NOT VALID */
The first rule also illustrates one way to put string quotes around the strings themselves. The double quotation marks are surrounded by single quotation marks, and vice versa.
Let’s look at a simple example. Suppose you’re creating an XML format to store a list of favorite quotations. Here’s one entry in the list:
<quotation><quote>I hate quotations.</quote><quotee>Ralph Waldo Emerson</quotee></quotation>
To present the data in a useful way, you could employ the following rules, with the result shown in Figure 15-24:
quotation:display:block;}quote{quotes:'“''”';}quote::before{content:open-quote;}quote::after{content:close-quote;}quotee::before{content:" (";}quotee::after{content:")";}
The values open-quote and close-quote are used to insert whatever quoting symbols are appropriate (since different languages have different quotation marks). They use the value of quotes to determine how they should work. Thus, the quotation begins and ends with a double quotation mark.
With quotes, you can define quotation patterns to as many nesting levels as you like. In English, for example, a common practice is to start out with a double quotation mark, and a quotation nested inside the first one gets single quotation marks. This can be recreated with “curly” quotation marks using the following rules:
quotation:display:block;}quote{quotes:'\201C''\201D''\2018''\2019';}quote::before,q::before{content:open-quote;}quote::after,q::after{content:close-quote;}
When applied to the following markup, these rules will have the effect shown in Figure 15-25:
<quotation><quote>In the beginning, there was nothing. And God said:<q>Let there be light!</q>And there was still nothing, but you could see it.</quote></quotation>
In a case where the nested level of quotation marks is greater than the number of defined pairs, the last pair is reused for the deeper levels. Thus, if we had applied the following rule to the markup shown in Figure 15-25, the inner quote would have had double quotation marks, the same as the outer quote:
quote{quotes:'\201C''\201D';}
These particular rules used the hexadecimal Unicode positions for the “curly quote” symbols. If your CSS uses UTF-8 character encoding (and it really should), then you can skip the escaped hexadecimal position approach and just include the curly-quote characters directly, as in previous examples.
Generated quotes make possible one other common typographic effect. In situations where there are several paragraphs of quoted text, the close-quote of each paragraph is often omitted; only the opening quote marks are shown, with the exception of the last paragraph. This can be recreated using the no-close-quote value:
blockquote{quotes:'"''"'"'""'"'"''"';}blockquotep::before{content:open-quote;}blockquotep::after{content:no-close-quote;}
This will start each paragraph with a double quotation mark but no closing mark. This is true of the last paragraph as well, so if you need to add a closing quote mark, you’d need to class the final paragraph and declare a close-quote for its ::after content.
This value is important because it decrements the quotation nesting level without actually generating a symbol. This is why each paragraph starts with a double quotation mark, instead of alternating between double and single marks until the third paragraph is reached. no-close-quote closes the quotation nesting at the end of each paragraph, and thus every paragraph starts at the same nesting level.
This is significant because, as the CSS2.1 specification notes, “Quoting depth is independent of the nesting of the source document or the formatting structure.” In other words, when you start a quotation level, it persists across elements until a close-quote is encountered, and the quote nesting level is decremented.
For the sake of completeness, there is a no-open-quote keyword, which has a symmetrical effect to no-close-quote. This keyword increments the quotation nesting level by one but does not generate a symbol.
We’re all familiar with counters; for example, the markers of the list items in ordered lists are counters. In CSS1, there was no way to affect them, largely because there was no need: HTML defined its own counting behaviors for ordered lists, and that was that. With the rise of XML, it’s now important to provide a method by which counters can be defined. CSS2 was not content to simply provide for the kind of simple counting found in HTML, however. Two properties and two content values make it possible to define almost any counting format, including subsection counters employing multiple styles, such as “VII.2.c.”
The basis of creating counters is the ability to set both the starting point for a counter and to increment it by some amount. The former is handled by the property counter-reset.
A counter identifier is simply a label created by the author. For example, you might name your subsection counter subsection, subsec, ss, or bob. The simple act of resetting (or incrementing) an identifier is sufficient to call it into being. In the following rule, the counter chapter is defined as it is reset:
h1{counter-reset:chapter;}
By default, a counter is reset to zero. If you want to reset to a different number, you can declare that number following the identifier:
h1#ch4{counter-reset:Chapter4;}
You can also reset multiple identifiers all at once in identifier-integer pairs. If you leave out an integer, then it defaults to zero:
h1{counter-reset:Chapter4section-1subsecfigure1;}/* 'subsec' is reset to 0 */
As you can see from the previous example, negative values are permitted. It would be perfectly legal to set a counter to -32768 and count up from there.
CSS does not define what user agents should do with negative counter values in nonnumeric counting styles. For example, there is no defined behavior for what to do if a counter’s value is -5 but its display style is upper-alpha.
To count up, you’ll need a property to indicate that an element increments a counter. Otherwise, the counter would remain at whatever value it was given with a counter-reset declaration. The property in question is, not surprisingly, counter-increment.
Like counter-reset, counter-increment accepts identifier-integer pairs, and the integer portion of these pairs can be zero or negative as well as positive. The difference is that if an integer is omitted from a pair in counter-increment, it defaults to 1, not 0.
As an example, here’s how a user agent might define counters to recreate the traditional 1, 2, 3 counting of ordered lists:
ol{counter-reset:ordered;}/* defaults to 0 */olli{counter-increment:ordered;}/* defaults to 1 */
On the other hand, an author might want to count backward from zero so that the list items use a rising negative system. This would require only a small edit:
ol{counter-reset:ordered;}/* defaults to 0 */olli{counter-increment:ordered-1;}
The counting of lists would then be -1, -2, -3 and so on. If you replaced the integer -1 with -2, then lists would count -2, -4, -6 and so on.
To actually display the counters, though, you need to use the content property in conjunction with one of the counter-related values. To see how this works, let’s use an XML-based ordered list like this:
<listtype="ordered"><item>First item</item><item>Item two</item><item>The third item</item></list>
By applying the following rules to XML employing this structure, you would get the result shown in Figure 15-26:
list[type="ordered"]{counter-reset:ordered;}/* defaults to 0 */list[type="ordered"]item{display:block;}list[type="ordered"]item::before{counter-increment:ordered;content:counter(ordered)". ";margin:0.25em0;}
Note that the generated content is, as usual, placed as inline content at the beginning of the associated element. Thus, the effect is similar to an HTML list with list-style-position: inside; declared.
Note also that the item elements are ordinary elements generating block-level boxes, which means that counters are not restricted only to elements with a display of list-item. In fact, any element can make use of a counter. Consider the following rules:
h1{counter-reset:sectionsubsec;counter-increment:chapter;}h1::before{content:counter(chapter)". ";}h2{counter-reset:subsec;counter-increment:section;}h2::before{content:counter(chapter)"."counter(section)". ";}h3{counter-increment:subsec;}h3::before{content:counter(chapter)"."counter(section)"."counter(subsec)". ";}
These rules would have the effect shown in Figure 15-27.
Figure 15-27 illustrates some important points about counter resetting and incrementing. For instance, notice how the counters are reset on the elements, whereas the actual generated-content counters are inserted via the ::before pseudo-elements. Attempting to reset counters in the pseudo-elements won’t work: you’ll get a lot of zeroes. You can increment them either on the elements or in the pseudo-elements, as you prefer.
Also notice how the h1 element uses the counter chapter, which defaults to zero and has a “1.” before the element’s text. When a counter is incremented and used by the same element, the incrementation happens before the counter is displayed. In a similar way, if a counter is reset and shown in the same element, the reset happens before the counter is displayed. Consider:
h1::before,h2::before,h3::before{content:counter(chapter)"."counter(section)"."counter(subsec)". ";}h1{counter-reset:sectionsubsec;counter-increment:chapter;}
The first h1 element in the document would be preceded by the text “1.0.0. ” because the counters section and subsec were reset, but not incremented. This means that if you want the first displayed instance of an incremented counter to be 0, then you need to reset that counter to -1, as follows:
body{counter-reset:chapter-1;}h1::before{counter-increment:chapter;content:counter(chapter)". ";}
You can do some interesting things with counters. Consider the following XML:
<codetype="BASIC"><line>PRINT "Hello world!"</line><line>REM This is what the kids are calling a "comment"</line><line>GOTO 10</line></code>
You can recreate the traditional format of a BASIC program listing with the following rules:
code[type="BASIC"]{counter-reset:linenum;font-family:monospace;}code[type="BASIC"]line{display:block;}code[type="BASIC"]line::before{counter-increment:linenum;content:counter(linenum10)": ";}
It’s also possible to define a list style for each counter as part of the counter( ) format. You can do this by adding a comma-separated list-style-type keyword after the counter’s identifier. The following modification of the heading-counter example is illustrated in Figure 15-28:
h1{counter-reset:sectionsubsec;counter-increment:chapter;}h1::before{content:counter(chapter,upper-alpha)". ";}h2{counter-reset:subsec;counter-increment:section;}h2::before{content:counter(chapter,upper-alpha)"."counter(section)". ";}h3{counter-increment:subsec;}h3::before{content:counter(chapter,upper-alpha)"."counter(section)"."counter(subsec,lower-roman)". ";}
Notice that the counter section was not given a style keyword, so it defaulted to the decimal counting style. You can even set counters to use the styles disc, circle, square, and none if you so desire.
One interesting point to note is that elements with a display of none do not increment counters, even if the rule seems to indicate otherwise. In contrast, elements with a visibility of hidden do increment counters:
.suppress{counter-increment:cntr;display:none;}/* 'cntr' is NOT incremented */.invisible{counter-increment:cntr;visibility:hidden;}/* 'cntr' IS incremented */
So far, we’ve seen how to string multiple counters together to create section-and-subsection counting. Often, this is something authors desire for nested ordered lists as well, but it would quickly become clumsy to try to create enough counters to cover deep nesting levels. Just to get it working for five-level-deep nested lists would require a bunch of rules like this:
olololololli::before{counter-increment:ord1ord2ord3ord4ord5;content:counter(ord1)"."counter(ord2)"."counter(ord3)"."counter(ord4)"."counter(ord5)".";}
Imagine writing enough rules to cover nesting up to 50 levels! (I’m not saying you should nest ordered lists 50 deep. Just follow along for the moment.)
Fortunately, CSS2.x described the concept of scope when it comes to counters. Stated simply, every level of nesting creates a new scope for any given counter. Scope is what makes it possible for the following rules to cover nested-list counting in the usual HTML way:
ol{counter-reset:ordered;}olli::before{counter-increment:ordered;content:counter(ordered)". ";}
These rules will all make ordered lists, even those nested inside others, start counting from 1 and increment each item by one—exactly how it’s been done in HTML from the beginning.
This works because a new instance of the counter ordered is created at each level of nesting. So, for the first ordered list, an instance of ordered is created. Then, for every list nested inside the first one, another new instance is created, and the counting starts anew with each list.
However, suppose you want ordered lists to count so that each level of nesting creates a new counter appended to the old: 1, 1.1, 1.2, 1.2.1, 1.2.2, 1.3, 2, 2.1, and so on. This can’t be done with counter( ), but it can be done with counters( ). What a difference an “s” makes.
To create the nested-counter style shown in Figure 15-29, you need these rules:
ol{counter-reset:ordered;list-style:none;}olli:before{content:counters(ordered,".")": ";counter-increment:ordered;}
Basically, the keyword counters(ordered,".") displays the ordered counter from each scope with a period appended, and strings together all of the scoped counters for a given element. Thus, an item in a third-level-nested list would be prefaced with the ordered value for the outermost list’s scope, the scope of the list between the outer and current list, and the current list’s scope, with each of those followed by a period. The rest of the content value causes a space, hyphen, and space to be added after all of those counters.
As with counter( ), you can define a list style for nested counters, but the same style applies to all of the counters. Thus, if you changed your previous CSS to read as follows, the list items in Figure 15-29 would all use lowercase letters for the counters instead of numbers:
olli::before{counter-increment:ordered;content:counters(ordered,".",lower-alpha)": ";}
You may have noticed that list-style: none was applied to the ol elements in the previous examples. That’s because the counters being inserted were generated content, not replacement list markers. In other words, had the list-style: none been left out, each list item would have had its user agent-supplied list counter, plus the generated-content counters we defined.
That ability can be very useful, but sometimes you really just want to redefine the markers themselves. That’s where counting patterns come in.
In recent years, a new method of defining counter patterns has arisen in CSS. It uses the @counter-style block format, with a number of dedicated descriptors to manage the outcome. The general pattern is:
@counter-style<name>{…declarations…}
where <name> is an author-supplied name for the pattern in question. For example, to create a series of alternating triangle markers, the block might look something like this:
@counter-styletriangles{system:cyclic;symbols:▶▷;}
This would have the result shown in Figure 15-30.
As of early 2017, @counter-style and the related topics discussed in this section were only supported by the Firefox family of browsers. They’re fun to use, but don’t rely on them in copy—that is, don’t say things like “refer to step 1A” if your counters are being generated using @counter-style.
There are a number of descriptors available, summarized here.
We’ll start with simple systems and work our way up in complexity, but first, let’s see the precise definitions for the two most basic descriptors: system and symbols.
For pretty much any @counter-style block, those are the minimum two descriptors. You can leave out system if you’re defining a symbolic system, but it’s generally better to include it so that you’re clear about what kind of system you’re setting up. Remember, the next person to work on the styles may not be as familiar with counter styling as you!
The simplest kind of counter pattern is a fixed system. Fixed systems are used in cases where you want to define an exact sequence of counter markers that doesn’t repeat once you’ve run out of markers. Consider this example, which has the result shown in Figure 15-31:
@counter-styleemoji{system:fixed;symbols:;ul.emoji{list-style:emoji;}
Once the list gets past the fifth list item, the counter system runs out of emoji, and since no fallback was defined (we’ll get to that shortly), the markers for subsequent list items fall back to the default for unordered lists.
Notice that the symbols in the symbols descriptor are space-separated. If they were all jammed together with no space separation, as shown here, you’d get the result something like that seen in Figure 15-32:
@counter-styleemoji{system:fixed;symbols:;}ul.emoji{list-style:emoji;}
This does mean you can define a fixed sequence of markers where each marker is composed of multiple symbols. (If you want to define a set of symbols that are combined in patterns to create a counting system, just wait: we’re getting to that soon.)
If you want to use ASCII symbols in your markers, it’s generally advisable to quote them. This avoids problems like angle brackets being mistaken for pieces of HTML by the parser. Thus you might do something like:
@counter-styleemoji{system:fixed;symbols:#$%">";}
It’s acceptable to quote all symbols, and it might be a good idea to get into the habit. That means more typing—the value above would become "#" "$" "%" ">"—but it’s less error-prone.
In fixed counter systems, you can define a starting value in the system descriptor itself. If you want to start the counting at 5, for example, you’d write:
@counter-styleemoji{system:fixed5;symbols:;}ul.emoji{list-style:emoji;}
In this case, the first five symbols represent counters 5 through 9. If the fallback counter style is decimal numbers, then the sixth counter in the sequence would have a value of 10 (in upper-Roman, it would be “J”).
The next step beyond fixed patterns is cyclic patterns. These are simply fixed patterns that repeat. Let’s take the fixed emoji pattern from the previous section and convert it to be cyclic. This will have the result shown in Figure 15-33:
@counter-styleemojiverse{system:cyclic;symbols:;}ul.emoji{list-style:emojiverse;}
The defined symbols are used in order, over and over, until there are no more markers left in the counting sequence.
It’s possible to use cyclic to supply a single marker that’s used for the entire pattern, much in the manner of supplying a string for list-style-type. In this case, it would look something like this:
@counter-stylethinker{system:cyclic;symbols:;/* equivalent to list-style-type: "" */}ul.hmmm{list-style:thinker;}
One thing you may have noticed is that so far, all our counters have been followed by a full stop (or a period, if you prefer). This is due to the default value of the suffix descriptor. suffix has a cousin descriptor, prefix.
With these descriptors, you can define symbols that are inserted before and after every marker in the pattern. Thus, we might give our thinker ASCII wings like so, as illustrated in Figure 15-34:
@counter-stylewingthinker{system:cyclic;symbols:;prefix:"~";suffix:"~";}ul.hmmm{list-style:wingthinker;}
suffix is particularly useful if you want to remove the default suffix from your markers. Here’s one example of how to do so:
@counter-stylethisisfine{system:cyclic;symbols:;suffix:"";}
Of course, you could also extend the markers in creative ways using prefix and suffix, as shown in Figure 15-35:
@counter-stylethisisfine{system:cyclic;symbols:;prefix:"";suffix:;}
You might wonder why the prefix value was quoted in that example, while the suffix value was not. There was literally no reason other than to demonstrate that both approaches work. As stated before, quoting symbols is safer, but it’s rarely required.
You may also see (or already been seeing) some differences between the Unicode glyphs in the CSS examples here, and those shown in the figures. This is an unavoidable aspect of using emoji and other such characters—what appears on one person’s user agent may be different on someone else’s. Just to pick one example: the differences in emoji rendering between Mac OS, iOS, Android, Samsung, Windows desktop, Windows mobile, Linux, and so on.
Keep in mind that you can use images for your counters, at least in theory. As an example, suppose you want to use a series of Klingon glyphs, which have no Unicode equivalents. (It’s a longstanding industry myth that Klingon is in Unicode. It was proposed in 1997 and rejected in 2001. A new proposal was made in 2016, with no resolution as of this writing.) We won’t represent the entire set of symbols here, but it would start something like this:
@counter-styleklingon-letters{system:cyclic;symbols:url(i/klingon-a.svg)url(i/klingon-b.svg)url(i/klingon-ch.svg)url(i/klingon-d.svg)url(i/klingon-e.svg)url(i/klingon-gh.svg);suffix:url(i/klingon-full-stop.svg);}
This would cycle from A through GH and then repeat, but still, you’d get some Klingon symbology, which might be enough. We’ll see ways to build up alphabetic and numeric systems later in the chapter.
A symbolic counting system is similar to a cyclic system, except in symbolic systems, the symbols add a repetition on each restart of the symbol sequence. This may be familiar to you from footnote symbols, or some varieties of alphabetic systems. Examples of each are shown here, with the result shown in Figure 15-36:
@counter-stylefootnotes{system:symbolic;symbols:"*""†""§";suffix:' ';}@counter-styleletters{system:symbolic;symbols:ABCDE;}
One thing to watch out for is that if you only have a few symbols applied to a very long list, the markers will quickly get quite large. Consider the letter counters shown in the previous example. Figure 15-37 shows what the 135th through 150th entries in a list using that system would look like.
This sort of consideration will become more of an issue from here on out, because the counter styles are all additive in one sense or another. There is a way to limit your exposure to these kinds of problems: the range descriptor.
With range, you can supply one or more space-separated pairs of values, with each pair separated from the others by commas. Let’s suppose we want to stop the letter-doubling after three iterations. There are five symbols, so we can restrict their use to the range of 1-15 like so, with the result shown in Figure 15-38 (which has been arranged in two columns to keep the figure size reasonable):
@counter-styleletters{system:symbolic;symbols:ABCDE;range:115;}
range to limit a symbolic counter patternIf there were, for whatever reason, a need to supply a second range of counter usage, it would look like this:
@counter-styleletters{system:symbolic;symbols:ABCDE;range:115,101115;}
In that case, the symbolic letter system defined by letters would be applied in the range 1-15, and also 101-115 (which would be “AAAAAAAAAAAAAAAAAAAAA” through “EEEEEEEEEEEEEEEEEEEEEEE,” rather appropriately).
So what happens to the counters that fall outside of the range(s) defined by range? They fall back to a default marker style. You can leave that up to the user agent to handle, or you can provide some direction by means of the fallback descriptor.
As an example, you might decide to handle any beyond-the-range counters with Hebrew counting.
@counter-styleletters{system:symbolic;symbols:ABCDE;range:115,101115;fallback:hebrew;}
You could just as easily use lower-greek, upper-latin, or even a non-counting style like square.
This will also be the style used as a fallback in any system where a counter can’t be represented by the primary system, for whatever reason. A simple example is a counting system that uses images for its symbols, and one of the images fails to load. In the following, assume south.svg fails to load. In that case, the missing image would be replaced with a lower-latin counter representing the value of the current item:
@counter-stylecompass{system:symbolic;symbols:url(north.svg)url(east.svg)url(south.svg)url(west.svg);fallback:lower-latin;}
An alpahbetic counting system is very similar to a symbolic system, except the manner of repeating changes. Remember, with symbolic counting, the number of symbols goes up with each iteration through the cycle. In alphabetic systems, each symbol is treated as a digit in a numbering system. If you’ve spent any time in spreadsheets, this counting method may be familiar to you from the column labels.
To illustrate this, let’s reuse the letter symbols from the previous section, and change from a symbolic to an alphabetic system. The result is shown in Figure 15-39 (once again formatted as two columns for compactness’ sake):
@counter-styleletters{system:alphabetic;symbols:ABCDE;/* once more cut off at 'E' to show the pattern’s effects more quickly */}
Notice how the second iteration of the pattern, which runs from “AA” to “AE” before switching over to “BA” through “BE”, then on to “CA” and so on. In the symbolic version of this, we’d already be up to “EEEEEE” by the time “EE” was reached in the alphabetic system.
Note that in order to be valid, an alphabetic system must have a minimum of two symbols supplied in the symbols descriptor. If only one symbol is supplied, the entire @counter-style block is rendered invalid. Any two symbols are valid; they can be letters, numbers, or really anything in Unicode, as well as images (again, in theory).
When you define a numeric system, you’re technically using the symbols you supply to define a positional numbering system. That is, the symbols are used as digits in a place-number counting system. Defining ordinary decimal counting, for example, would be done like this:
@counter-styledecimal{system:numeric;symbols:'0''1''2''3''4''5''6''7''8''9';}
This is easily extensible to create hexadecimal counting, like so:
@counter-stylehexadecimal{system:numeric;symbols:'0''1''2''3''4''5''6''7''8''9''A''B''C''D''E''F';}
This will count from 1 through F, roll over to 10 and count up to 1F, then 20 to 2F, 30 to 3F, etc. Much more simply, it’s a breeze to set up binary counting:
@counter-stylebinary{system:numeric;symbols:'0''1';}
Examples of each of those three counting patterns are shown in Figure 15-40.
An interesting question to consider is: what happens if a counter value is negative? In decimal counting, we generally expect negative numbers to be preceded by a minus sign (-), but what about in other systems, like symbolic? What if we define a letter-based numeric counting system? Or if we want to use accounting-style formatting, which puts negative values into parentheses? This is where the negative descriptor comes into play.
negative is like its own little self-contained combination of prefix and suffix, but is only applied in situations where the counter is a negative value. Its symbols are placed inside the prefix and suffix symbols.
So let’s say we want to use accounting-style formatting, and also add prefix and suffix symbols to all counters. That would be done as follows, with the result shown in Figure 15-41:
@counter-styleaccounting{system:numeric;symbols:'0''1''2''3''4''5''6''7''8''9';negative:"("")";prefix:"$";suffix:" - ";}ol.kaching{list-style:accounting;}
Another common feature of numeric counting systems is the desire to pad out low values so that their length matches that of higher values. For example, rather than “1” and “100,” a counting pattern might use leading zeroes to create “001” and “100.” This can be accomplished with the pad descriptor.
The pattern of this descriptor is a little interesting. The first part is an integer, and defines the number of digits that every counter should have. The second part is a string that’s used to fill out any value that has fewer than the defined number of digits. Consider this example:
@counter-stylepadded{system:numeric;symbols:'0''1''2''3''4''5''6''7''8''9';suffix:'.';pad:4"0";}ol{list-style:decimal;}ol.padded{list-style:padded;}
Given these styles, ordered lists will all used decimal counting by default: 1, 2, 3, 4, 5…. Those with a class of padded will use padded decimal counting: 0001, 0002, 0003, 0004, 0005…. An example of this is shown in Figure 15-42.
Note how the padded counters use the 0 symbol to fill in any missing leading digits, in order to make every counter be at least four digits long. The “at least” part of that last sentence is important: if a counter gets up to five digits, it won’t be padded. More importantly, if a counter reaches five digits, none of the other shorter counters will get additional zeroes. They’ll stay four digits long, because of the 4 in 4 "0".
Any symbol can be used to pad values, not just 0. You could use underlines, periods, emoji, arrow symbols, empty spaces, or anything else you like. In fact, you can have multiple characters in the <symbol> part of the value. The following is perfectly acceptable, if not necessarily desirable:
@counter-stylecrazy{system:numeric;symbols:'0''1''2''3''4''5''6''7''8''9';suffix:'.';pad:4"";}ol{list-style:decimal;}ol.padded{list-style:padded;}
Given a counter value of 1, the result of that crazy counting system would be “![]()
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1.”
Note that negative symbols count toward symbol length, and thus eat into padding. Also note that the negative sign will come outside any padding. Thus, given the following styles, we’d get the result shown in Figure 15-43:
@counter-stylenegativezeropad{system:numeric;symbols:'0''1''2''3''4''5''6''7''8''9';suffix:'. ';negative:'–';pad:4"0";}@counter-stylenegativespacepad{system:numeric;symbols:'0''1''2''3''4''5''6''7''8''9';suffix:'. ';negative:'–';pad:4" ";}
We have one more system type to explore, which is additive-symbol counting. In additive counting systems, different symbols are used to represent values. Putting a number of the symbols together properly, and adding up the numbers each represents, yields the counter value.
It’s much easier to show this than explain it. Here’s an example adapted from Kseso:
@counter-styleroman{system:additive;additive-symbols:1000M,900CM,500D,400CD,100C,90XC,50L,40XL,10X,9IX,5V,4IV,1I;}
This will count in classical Roman style. Another good example can be found in the specification for counting styles, which defines a dice-counting system:
@counter-styledice{system:additive;additive-symbols:6⚅,5⚄,4⚃,3⚂,2⚁,1⚀,0"__";suffix:" ";}
The results of both counting systems are shown in Figure 15-44; this time, each list has been formatted as three columns.
Symbols can be quoted for clarity; e.g., 6 "⚅", 5 "⚄", 4 "⚃", and so on.
The most important thing to keep in mind is that the order of the symbols and their equivalent values matters. Notice how both the Roman and dice-counting systems supplied values from largest to smallest, not the other way around? That’s because if you put the values in any order other than descending, the entire block is rendered invalid.
Also notice the use of the additive-symbols descriptor instead of symbols. This is important to keep in mind, since defining an additive system and then trying to use the symbols descriptor will render the entire counter-styles block invalid. (Similarly, attempting to use the additive-symbols description in non-additive systems will render those blocks invalid.)
One last thing to note about additive systems is that, due to the way the additive-counter algorithm is defined, it’s possible to create additive systems where some values can’t be represented even though it seems like they should be. Consider this definition:
@counter-styleproblem{system:additive;additive-symbols:3"Y",2"X";fallback:decimal;}
This would yield the following counters for the first five numbers: 1, X, Y, 4, YX. You might think “4” should be “XX,” and that may make intuitive sense, but the algorithm for additive symbols doesn’t permit it. To quote the specification: “While unfortunate, this is required to maintain the property that the algorithm runs in linear time relative to the size of the counter value.”
So how does Roman counting manage to get “III” for 3? Again, the answer is in the algorithm. It’s a little too complicated to get into here, so if you’re truly curious, I recommend you read the CSS Counter Styles Level 3 specification, which defines the additive counting algorithm. Even if that doesn’t interest you, just remember: make sure you have a symbol whose value equates to 1, and you’ll avoid this problem.
There may come a time when you just want to vary an existing counting system a bit. For example, suppose you want to change regular decimal counting to use close-parentheses symbols as suffixes, and pad up to two leading zeroes. You could write it all out longhand, like so:
@counter-stylemydecimals{system:numeric;symbols:'0''1''2''3''4''5''6''7''8''9';suffix:") ";pad:2"0";}
That works, but it’s clumsy. Well, worry not: extends is here to help.
extends is sort of a system type, but only in the sense that it builds on an existing system type. The previous example would be rewritten with extends as follows:
@counter-stylemydecimals{system:extendsdecimal;suffix:") ";pad:2"0";}
That takes the existing decimal system familiar from list-style-type and reformats it a bit. Thus, there’s no need to re-type the whole symbol chain. You just adjust the options, as it were.
In fact, you can only adjust the options: if you try use either symbols or additive-symbols in an extneds system, the entire @counter-style block will be invalid and ignored. In other words, symbols cannot be extended. As an example, you can’t define hexadecimal counting by extending decimal counting.
However, you can vary the hexadecimal counting for different contexts. As an example, you could set up basic hex counting and then define some variant display patterns, as shown in the following code and illustrated in Figure 15-45. (Note that each list jumps from 19 to 253, thanks to a value="253" on one of the list items.)
@counter-stylehexadecimal{system:numeric;symbols:'0''1''2''3''4''5''6''7''8''9''A''B''C''D''E''F';}@counter-stylehexpad{system:extendshexadecimal;pad:2"0";}@counter-stylehexcolon{system:extendshexadecimal;suffix:": ";}@counter-stylehexcolonlimited{system:extendshexcolon;range:1255;/* stops at FF */}
Notice how the last of the four counter styles, hexcolonlimited, extends the third, hexcolon, which itself extends the first, hexadecimal. In hexcolonlimited, the hexadecimal counting stops at FF (255), thanks to the range: 1 255; declaration.
While it’s fun to build counters out of symbols, the result can be a real mess for spoken technologies such as Apple’s VoiceOver or the JAWS screen reader. Imagine, for example, a screen reader trying to read dice counters, or phases of the moon. To help, the speak-as descriptor allows you to define an audible fallback.
Let’s take the values backward. With a <counter-style-name>, you’re able to define an alternate counting style that the user agent likely already recognizes. For example, you might provide an audio fallback for dice-counting to be decimal counting when spoken:
@counter-styledice{system:additive;speak-as:decimal;additive-symbols:6⚅,5⚄,4⚃,3⚂,2⚁,1⚀;suffix:" ";}
Given those styles, the counter “⚅⚅⚂” would be spoken as “fifteen.” Alternatively, if the speak-as value is changed to lower-latin, that counter will be spoken as “oh” (capital letter O).
spell-out seems fairly straightforward, but it’s a little more complicated than it first appears. What is spelled out by the user agent is a “counter representation,” which is then spelled out letter by letter. It’s hard to predict what that will mean, since the method of generated a counter representation isn’t precisely defined: the specification says “counter representations are constructed by concatenating counter symbols together.” And that’s all.
words is similar to spell-out, except the counter representation is spoken as words instead of spelling out each letter. Again, the exact process is not defined.
With the value numbers, the counters are spoken as numbers in the document language. This is very similar to the previous code sample, where “⚅⚅⚂” is spoken as “fifteen,” at least in English documents. If it’s another language, then that language is used for counting: “quince” in Spanish, “fünfzehn” in German, “shíwǔ” in Chinese, and so on.
Given bullets, the user agent says whatever it says when reading a bullet (marker) in an unordered list. This may mean saying nothing at all, or producing an audio cue such as a chime or click.
Finally, consider the default value of auto. We saved this for last because its actual effect depends on the counting system in use. If it’s a alphabetic system, then speak-as: auto has the same effect as speak-as: spell-out. In cyclic systems, auto is the same as bullets. Otherwise, the effect is the same as speak-as: numbers.
The exception to this rule is if the system is an extends system, in which case auto’s effects are determined based on the system being extended. Therefore, given the following styles, the counters in an emojibrackets list will be spoken as if speak-as were set to bullets:
@counter-styleemojilist{emojiverse{system:cyclic;symbols:;@counter-style emojibrackets {system:extendsemojilist;suffix:"]] ";speak-as:auto;}
Even though list styling isn’t as sophisticated as we might like, and browser support for generated content is somewhat spotty (as of this writing, anyway), the ability to style lists is still highly useful. One relatively common use is to take a list of links, remove the markers and indentation, and thus create a navigation sidebar. The combination of simple markup and flexible layout is difficult to resist. With the anticipated enhancements to list styling in CSS3, I expect that lists will become more and more useful.
For now, in situations where a markup language doesn’t have intrinsic list elements, generated content can be an enormous help—say, for inserting content such as icons to point to certain types of links (PDF files, Word documents, or even just links to another web site). Generated content also makes it easy to print out link URLs, and its ability to insert and format quotation marks leads to true typographic joy. It’s safe to say that the usefulness of generated content is limited only by your imagination. Even better, thanks to counters, you can now associate ordering information to elements that are not typically lists, such as headings or code blocks. Now, if you want to support such features with design that mimics the appearance of the user’s operating system, read on. The next chapter will discuss ways to change the placement, shape, and even perspective of your design.
Ever since the inception of Cascading Style Sheets (CSS), elements have been rectangular and firmly oriented on the horizontal and vertical axes. A number of tricks arose to make elements look like they were tilted and so on, but underneath it all was a rigid grid. In the late 2000s, an interest grew in being able to break the shackles of that grid and transform objects in interesting ways—and not just in two dimensions.
If you’ve ever positioned an object, whether relatively or absolutely, then you’ve already transformed that object. For that matter, any time you used floats or negative-margin tricks (or both), you transformed an object. All of those are examples of translation, or the movement of an element from where it would normally appear to some other place. With CSS transforms, you have a new way to translate elements, and a whole lot more. Whether it’s as simple as rotating some photographs a bit to make them appear more natural, or creating interfaces where information can be revealed by flipping over elements, or just doing interesting perspective tricks with sidebars, CSS transforms can—if you’ll pardon the obvious expression—transform the way you design.
Before embarking on this journey, let’s take a moment to orient ourselves. Two types of coordinate systems are used in transforms, and it’s a good idea to be familiar with both.
If you’re already well familiar with Cartesian and spherical coordinate systems, particularly as used in computing, feel free to skip to the next section.
The first is the Cartesian coordinate system, or what’s often called the x/y/z coordinate system. This system is a way of describing the position of a point in space using two numbers (for two-dimensional placement) or three numbers (for three-dimensional placement). In CSS, the system uses three axes: the x, or horizontal axis; the y, or vertical axis; and the z, or depth axis. This is illustrated in Figure 16-1.
For any 2D (two-dimensional) transform, you only need to worry about the x- and y-axes. By convention, positive x values go to the right, and negative values go to the left. Similarly, positive y values go downward along the y-axis, while negative values go upward along the y-axis.
That might seem a little weird, since we tend to think that higher numbers should place something higher up, not lower down, as many of us learned in pre-algebra. (This why the “y” label is at the bottom of the y-axis in Figure 16-1: the labels are placed in the positive direction on all three axes.) If you are experienced with absolute positioning in CSS, think of the top property values for absolutely positioned elements: they get moved downward for positive top values, and upward when top has a negative length.
Given this, in order to move an element leftward and down, you would give it a negative x and a positive y value, like this:
translateX(-5em)translateY(33px)
That is in fact a valid transform value, as we’ll see in just a bit. Its effect is to translate (move) the element five ems to the left and 33 pixels down.
If you want to transform something in three-dimensional space, then you
add a z-axis value. This axis is the one that “sticks out” of the
display and runs straight through your head. In a theoretical sense,
that is. Positive z values are closer to you, and negative z values are
further away from you. In this regard, it’s exactly like the z-index
property.
So let’s say that we want to take the element we moved before and add a z-axis value:
translateX(-5em)translateY(33px)translateZ(200px)
Now the element will appear 200 pixels closer to us than it would be without the z value.
Well you might wonder exactly how an element can be moved 200 pixels closer to you, given that holographic displays are regrettably rare and expensive. How many molecules of air between you and your monitor are equivalent to 200 pixels? What does an element moving closer to you even look like, and what happens if it gets too close? These are excellent questions that we’ll get to later on. For now, just accept that moving an element along the z-axis appears to move it closer or farther away.
The really important thing to remember is that every element carries its own frame of reference and so considers its axes with respect to itself. That is to say, if you rotate an element, the axes rotate along with it, as illustrated in Figure 16-2. Any further transforms are calculated with respect to those rotated axes, not the axes of the display.
Speaking of rotations, the other coordinate system used in CSS transforms is a spherical system, which describes angles in 3D space. It’s illustrated in Figure 16-3.
For the purposes of 2D transforms, you only have to worry about a single 360-degree polar system: the one that sits on the plane described by the x- and y-axes. When it comes to rotations, a 2D rotation actually describes a rotation around the z-axis. Similarly, rotations around the x-axis tilt the element toward or away from you, and rotations around the y-axis turn the element from side to side. These are illustrated in Figure 16-4.
But back to 2D rotations. Suppose you wanted to rotate an element 45 degrees clockwise in the plane of the display (i.e., around the z-axis). The transform value you’re most likely to use is:
rotate(45deg)
Change that to –45deg, and the element will rotate counterclockwise
(anticlockwise for our international friends) around the z-axis. In
other words, it will rotate in the xy plane, as illustrated in Figure 16-5.
All right, now that we have our bearings, let’s get started with transforms!
There’s really only one property that applies transforms, along with a few ancillary properties that affect exactly how the transforms are applied. We’ll start with the big cheese.
First off, let’s clear up the matter of the bounding box. For any element being affected by CSS, this is the border box; that is, the outermost edge of the element’s border. That means that any outlines and margins are ignored for the purposes of calculating the bounding box.
If a table-display element is being transformed, its bounding box is the table wrapper box, which encloses the table box and any associated caption box.
If you’re transforming a Scalable Vector Graphics (SVG) element with CSS, then its bounding box is its SVG-defined object bounding box.
Note that all transformed elements (i.e., elements with transform set
to a value other than none) have their own stacking context. While the
scaled element may be much smaller or larger than it was before the
transform was applied, the actual space on the page that the element occupies
remains the same as before the transform was applied. This is true for
all the transform functions.
Now, the value entry <transform-list> requires some explanation. This placeholder
refers to a list of one or more transform functions, one after the
other, in space-separated format. It looks like this, with the result
shown in Figure 16-6:
#example{transform:rotate(30deg)skewX(-25deg)scaleY(2);}
The functions are processed one at a time, starting with the first (leftmost) and proceeding to the last (rightmost). This first-to-last processing order is important, because changing the order can lead to drastically different results. Consider the following two rules, which have the results shown in Figure 16-7:
img#one{transform:translateX(200px)rotate(45deg);}img#two{transform:rotate(45deg)translateX(200px);}
In the first instance, an image is translated (moved) 200 pixels along its x-axis and then rotated 45 degrees. In the second instance, an image is rotated 45 degrees and then moved 200 pixels along its x-axis—that’s the x-axis of the transformed element, not of the parent element, page, or viewport. In other words, when an element is rotated, its x-axis (along with its other axes) rotates along with it. All element transforms are conducted with respect to the element’s own frame of reference.
Compare this to a situation where an element is translated and then scaled, or vice versa; it doesn’t matter which is which, because the end result is the same:
img#one{transform:translateX(100px)scale(1.2);}img#two{transform:scale(1.2)translateX(100px);}
The situations where the order doesn’t matter are far outnumbered by the situations where it does; so in general, it’s a good idea to just assume the order always matters, even when it technically doesn’t.
Note that when you have a series of transform functions, all of them must be properly formatted; that is, they must be valid. If even one function is invalid, it renders the entire value invalid. Consider:
img#one{transform:translateX(100px)scale(1.2)rotate(22);}
Because the value for rotate() is invalid—rotational values must have
a unit—the entire value is dropped. The image in question will just
sit there in its initial untransformed state, neither translated nor
scaled, let alone rotated.
It’s also the case that transforms are not usually cumulative. That is to say, if you apply a transform to an element and then later want to add a transformation, you need to restate the original transform. Consider the following scenarios, illustrated in Figure 16-8:
#ex01{transform:rotate(30deg)skewX(-25deg);}#ex01{transform:scaleY(2);}#ex02{transform:rotate(30deg)skewX(-25deg);}#ex02{transform:rotate(30deg)skewX(-25deg)scaleY(2);}
In the first case, the second rule completely replaces the first,
meaning that the element is only scaled along the y-axis. This actually
makes some sense; it’s the same as if you declare a font size and then
elsewhere declare a different font size for the same element. You don’t
get a cumulative font size that way. You just get one size or the other.
In the second example, the entirety of the first set of transforms is
included in the second set, so they all are applied along with the
scaleY() function.
There is an exception to this, which is that animated transforms, whether using transitions or actual animations, are additive. That way, you can take an element that’s transformed and then animate one of its transform functions without overwriting the others. For example, assume you had:
img#one{transform:translateX(100px)scale(1.2);}
If you then animate the element’s rotation angle, it will rotate from its translated, scaled state to the new angle, and its translation and scale will remain in place.
What makes this interesting is that even if you don’t explicitly specify
a transition or animation, you can still create additive transforms via
the user-interaction pseudoclasses, such as :hover. That’s because
things like hover effects are types of transitions; they’re just not
invoked using the transition properties. Thus, you could declare:
img#one{transform:translateX(100px)scale(1.2);}img#one:hover{transform:rotate(-45deg);}
This would rotate the translated, scaled image 45 degrees to its left on hover. The rotation would take place over zero seconds because no transition interval was declared, but it’s still an implicit transition. Thus, any state change can be thought of as a transition, and thus any transforms that are applied as a result of those state changes are additive with previous transforms.
There’s one important caveat: as of this writing, transforms are not
applied to atomic inline-level boxes. These are inline boxes like
spans, hyperlinks, and so on. Those elements can be transformed if their
block-level parent is transformed, in which case they go along for the
ride. But you can’t just rotate a span unless you’ve changed its
display role via display: block, display: inline-block, or something
along those lines. The reason for this limitation boils down to an
uncertainty. Suppose you have a span (or any inline-level box) that
breaks across multiple lines. If you rotate it, what happens? Does each
line box rotate with respect to itself, or should all the line boxes be
rotated as a single group? There’s no clear answer, and the debate
continues, so for now you can’t directly transform inline-level boxes.
There are, as of this writing, 21 different transform functions, employing a number of different value patterns to get their jobs done. Table 16-1 provides a list of all the available transform functions, minus their value patterns.
|
|
|
|
|
|
The most common value pattern for transform is a
space-separated list of one or more functions, processed from first
(leftmost) to last (rightmost), and all of the functions must have valid
values. If any one of the functions is invalid, it will invalidate the
entire value of transform, thus preventing any transformation at all.
A translation transform is just a move along one or more axes. For
example, translateX() moves an element along its own x-axis,
translateY() moves it along its y-axis, and translateZ() moves it along its z-axis.
| Functions | Permitted values |
|---|---|
|
<length> | <percentage> |
These are usually referred to as the “2D” translation functions, since they can slide an element up and down, or side to side, but not forward or backward along the z-axis. Each of these functions accepts a single distance value, expressed as either a length or a percentage.
If the value is a length, then the effect is about what you’d expect.
Translate an element 200 pixels along the x-axis with
translateX(200px), and it will move 200 pixels to its right. Change
that to translateX(-200px), and it will move 200 pixels to its left.
For translateY(), positive values move the element downward, while negative
values move it upward, both with respect to the element itself. Thus, if
you flip the element upside down by rotation, positive translateY()
values will actually move the element downward on the page.
If the value is a percentage, then the distance is calculated as a
percentage of the element’s own size. Thus, translateX(50%) will move
an element 300 pixels wide and 200 pixels tall to its right by 150
pixels, and translateY(-10%) will move that same element upward (with
respect to itself) by 20 pixels.
| Function | Permitted values |
|---|---|
|
[ <length> | <percentage> ] [ |
If you want to translate an element along both the x- and y-axes at the
same time, then translate() makes it easy. Just supply the x value
first and the y value second, and it will act the same as if you
combined translateX() translateY(). If you omit the y value, then it’s
assumed to be zero. Thus, translate(2em) is treated as if it were
translate(2em,0), which is also the same as translateX(2em). See
Figure 16-9 for some examples of 2D translation.
According to the latest version of the specification, both of the 2D translation functions can be given a unitless number. In this case, the number is treated as being expressed in terms of a user unit, which is treated the same as a pixel unless otherwise defined. The CSS specification does not explain how a user unit is otherwise defined; however, the SVG specification does, albeit briefly. In the field, no browser tested as of this writing supported unitless numbers of translation values, so the capability is academic, at best.
| Function | Permitted value |
|---|---|
|
<length> |
This function translates elements along the z-axis, thus moving them
into the third dimension. Unlike the 2D translation functions,
translateZ() only accepts length values. Percentage values are not
permitted for translateZ(), or indeed for any z-axis value.
| Functions | Permitted values |
|---|---|
translate3d() |
[ <length> | <percentage> ], [ <length> | <percentage>], [ <length> ] |
Much like translate() does for x and y translations, translate3d()
is a shorthand function that incorporates the x, y, and z translation
values into a single function. This is handy if you want to
move an element over, up, and forward in one fell swoop. See Figure 16-10
for an illustration of how 3D translation works. There, each arrow
represents the translation along that axis, arriving at a point in 3D
space. The dashed lines show the distance and direction from the origin
point (the intersection of the three axes) and the distance above the xz
plane.
Unlike translate(), there is no fallback for situations where
translate3d() does not contain three values. Thus,
translate3d(1em,-50px) should be treated as invalid by user agents
instead of being assumed to be translate3d(2em,-50px,0).
A scale transform makes an element larger or smaller, depending on what value you use. These values are unitless real numbers and are always positive. On the 2D plane, you can scale along the x- and y-axes individually, or scale them together.
| Functions | Permitted value |
|---|---|
|
<number> |
The number value supplied to a scale function is a multiplier; thus,
scaleX(2) will make an element twice as wide as it was before the
transformation, whereas scaleY(0.5) will make it half as tall. Given this, you might expect that percentage values are permissible as scaling values, but they aren’t.
| Function | Permitted value |
|---|---|
|
<number> [ |
If you want to scale along both axes simultaneously, use scale(). The
x value is always first and the y always second, so scale(2,0.5) will
make the element twice as wide and half as tall as it was before being
transformed. If you only supply one number, it is used as the scaling
value for both axes; thus, scale(2) will make the element twice as
wide and twice as tall. This is in contrast to translate(), where an
omitted second value is always set to zero. scale(1) will scale an
element to be exactly the same size it was before you scaled it, as will
scale(1,1). Just in case you were dying to do that.
Figure 16-11 shows a few examples of element scaling, using both the
single-axis scaling functions, as well as the combined scale().
If you can scale in two dimensions, you can also scale in
three. CSS offers scaleZ() for scaling just along the z-axis, and
scale3d() for scaling along all three axes at once. These really only
have an effect if the element has any depth, which elements don’t by
default. If you do make a change that conveys depth—say, rotating an
element around the x- or y-axes—then there is a depth that can be scaled,
and either scaleZ() or scale3d() can do so.
| Function | Permitted value |
|---|---|
|
<number> |
Similar to translate3d(), scale3d() requires all three numbers to be
valid. If you fail to do this, then the malformed scale3d() will
invalidate the entire transform value to which it belongs.
A rotation function causes an element to be rotated around an axis, or around an arbitrary vector in 3D space. There are four simple rotation functions, and one less-simple function meant specifically for 3D.
| Functions | Permitted values |
|---|---|
|
<angle> |
All four basic rotation functions accept just one value: a degree. This
can be expressed using any of the valid degree units (deg, grad,
rad, and turn) and a number, either positive or negative. If a
value’s number runs outside the usual range for the given unit, it will
be normalized to fit into the accepted range. In other words, a value of
437deg will be tilted the same as if it were 77deg, or, for that
matter, -283deg.
Note, however, that these are only exactly equivalent if you don’t
animate the rotation in some fashion. That is to say, animating a
rotation of 1100deg will spin the element around several times before
coming to rest at a tilt of -20 degrees (or 340 degrees, if you like).
By contrast, animating a rotation of -20deg will tilt the element a
bit to the left, with no spinning; and animating a rotation of
340deg will animate an almost-full spin to the right. All three
animations come to the same end state, but the process of getting there
is very different in each case.
The function rotate() is a straight 2D rotation, and the one you’re
most likely to use. It is equivalent to rotateZ() because it rotates
the element around the z-axis (the one that shoots straight out of your
display and through your eyeballs). In a similar manner, rotateX() causes
rotation around the x-axis, thus causing the element to tilt toward or
away from you; and rotateY() rotates the element around its y-axis, as
though it were a door. These are all illustrated in Figure 16-12.
Several of the examples in Figure 16-12 present a fully 3D
appearance. This is only possible with certain values of the properties
transform-style and perspective, described in sections “Choosing a 3D Style” and “Changing Perspective” and
omitted here for clarity. This will be true throughout this text in any
situation where 3D-transformed elements appear to be fully
three-dimensional. This is important to keep in mind because if you
just try to apply the transform functions shown, you won’t get the same
visual results as in the figures.
| Function | Permitted value |
|---|---|
|
<number>`,` <number>`,` <number>`,` <angle> |
If you’re comfortable with vectors and want to rotate an element through
3D space, then rotate3d() is for you. The first three numbers specify
the x, y, and z components of a vector in 3D space, and the degree value (angle)
determines the amount of rotation around the declared 3D vector.
To start with a basic example, the 3D equivalent to rotate(45deg) is
rotate3d(0,0,1,45deg). This specifies a vector of zero magnitude on
the x- and y-axes, and a magnitude of 1 along the z-axis. In other words,
it describes the z-axis. The element is thus rotated 45 degrees around
that vector, as shown in Figure 16-13. This figure also shows the
appropriate rotate3d() values to rotate an element by 45 degrees
around the x- and y-axes.
A little more complicated is something like
rotate3d(-0.95,0.5,1,45deg), where the described vector points off into 3D space between the axes. To understand how this works,
let’s start with a basic example: rotateZ(45deg) (illustrated in
Figure 16-13). The equivalent is rotate3d(0,0,1,45deg). The first three
numbers describe the components of a vector that has no x or y
magnitude, and a z magnitude of 1. Thus, it points along the z-axis in a
positive direction; that is, toward the viewer. The element is then
rotated clockwise as you look toward the origin of the vector.
Similarly, the 3D equivalent of rotateX(45deg) is
rotate3d(1,0,0,45deg). The vector points along the x-axis in the
positive direction (to the right). If you stand at the end of that vector
and look toward its origin, then you rotate the element 45 degrees
clockwise around the vector. Thus, from the usual viewer placement, the
top of the element rotates away from and the bottom rotates toward the
viewer.
Let’s make it slightly more complex: suppose you have
rotate3d(1,1,0,45deg). When viewed on your monitor, that describes a
vector running from the top-left to bottom-right corner, going right through
the center of the element (by default, anyway; we’ll see how to change
that later on). So the element’s rectangle has a line running through it
at a 45-degree angle, effectively spearing it. Then the vector rotates
45 degrees, taking the element with it. The rotation is clockwise as you
look back toward the vector’s origin, so again, the top of the element
rotates away from the viewer, while the bottom rotates toward the viewer. If we
were to change the rotation to rotate3d(1,1,0,90deg), then the element
would be edge-on to the viewer, tilted at a 45-degree angle and facing
off toward the upper right. Try it with a piece of paper: draw a line
from the top left to bottom right, and then rotate the paper around that
line.
OK, so given all that, try visualizing how the vector is determined
for rotate3d(-0.95,0.5,1,45deg). If we assume a cube 200 pixels on a
side, the vector’s components are 190 pixels to the left along the x-axis, 100 pixels down along the y-axis, and 200 pixels toward the views
along the z-axis. The vector goes from the origin point (0, 0, 0) to the point
(-190 px, 100 px, 200 px). Figure 16-14 depicts that vector, as well as the
final result presented to the viewer.
So the vector is like a metal rod speared through the element being rotated. As we look back along the line of the vector, the rotation is 45 degrees clockwise. But since the vector points left, down, and forward, that means the top-left corner of the element rotates toward the viewer, and the bottom right rotates away, as shown in Figure 16-14.
Just to be crystal clear, rotate3d(1,1,0,45deg) is not equivalent to
rotateX(45deg) rotateY(45deg) rotateZ(0deg)! It’s an easy mistake to
make, and many people—including several online tutorial authors and,
until researching and writing this section, your humble
correspondent—have made it. It seems like it should be equivalent, but it really
isn’t. If we place that vector inside the imaginary 200 × 200 × 200 cube
previously mentioned, the axis of rotation would go from the origin
point to a point 200 pixels right and 200 pixels down (200, 200, 0).
Having done that, the axis of rotation is shooting through the element
from the top left to the bottom right, at a 45-degree angle. The element
then rotates 45 degrees clockwise around that diagonal, as you look back
toward its origin (the top left), which rotates the top-right corner of
the element away and a bit to the left, while the bottom-left corner
rotates closer and a bit to the right. This is distinctly different than
the result of rotateX(45deg) rotateY(45deg) rotateZ(0deg), as you can
see in Figure 16-15.
When you skew an element, you slant it along one or both of the x- and y-axes. There is no z-axis or other 3D skewing.
| Functions | Permitted value |
|---|---|
|
<angle> |
In both cases, you supply an angle value, and the element is skewed to match that angle. It’s much easier to show skewing rather than try to explain it in words, so Figure 16-16 shows a number of skew examples along the x- and y-axes.
| Function | Permitted values |
|---|---|
|
<angle> [ |
The behavior of including skew(a,b) is different from including
skewX(a) with skewY(b). Instead, it specifies a 2D skew using the
matrix operation [ax,ay]. Figure 16-17 shows some examples of this matrix
skewing and how they differ from double-skew transforms that look the
same at first, but aren’t.
If you supply two values, the x skew angle is always first, and the y skew angle comes second. If you leave out a y skew angle, then it’s treated as zero.
If you’re transforming an element in 3D space, you most likely want it to have some perspective. Perspective gives the appearance of front-to-back depth, and you can vary the amount of perspective applied to an element.
| Function | Permitted values |
|---|---|
|
<length> |
It might seem a bit weird that you specify perspective as a distance.
After all, perspective(200px) seems a bit odd when you can’t really
measure pixels along the z-axis. And yet, here we are. You supply a
length, and the illusion of depth is constructed around that value.
Lower numbers create more extreme perspective, as though you are right
up close to the element and viewing it through a fish-eye lens. Higher
numbers create a gentler perspective, as though viewing the element
through a zoom lens from far away. Really high perspective values
create an isometric effect.
This makes a certain amount of sense. If you visualize perspective as a pyramid, with its apex point at the perspective origin and its base the closest thing to you, then a shorter distance between apex and base will create a shallower pyramid, and thus a more extreme distortion. This is illustrated in Figure 16-18, with hypothetical pyramids representing 200 px, 800 px, and 2,000 px perspective distances.
In the documentation for Safari, Apple writes that perspective values
below 300px tend to be extremely distorted, values above 2000px
create “very mild” distortion, and values between 500px and 1000px
create “moderate perspective.” To illustrate this, Figure 16-19 shows a series of elements with the exact same rotation as displayed with varying perspective values.
Perspective values must always be positive, nonzero lengths. Any other
value will cause the perspective() function to be ignored. Also note
that its placement in the list of functions is very important. If you
look at the code for Figure 16-19, the perspective() function comes
before the rotateY() function. If you were to reverse the order, the
rotation would happen before the perspective is applied, so all four
examples in Figure 16-19 would look exactly the same. So if you plan to
apply a perspective value via the list of transform functions, make sure
it comes first, or at the very least before any transforms that depend
on it. This serves as a particularly stark reminder that the order in which you
write transform functions can be very important.
If you’re a particular fan of advanced math, or stale jokes derived from the Wachowskis’ movies, then these functions will be your favorites.
| Function | Permitted values |
|---|---|
|
<number> [ |
In the CSS transforms specification, we find the trenchant description
of matrix() as a function that “specifies a 2D transformation in the
form of a transformation matrix of the six values a-f.”
First things first: a valid matrix() value is a list of six
comma-separated numbers. No more, no less. The values can be positive or
negative. Second, the value describes the final transformed state of the
element, combining all of the other transform types (rotation, skewing,
and so on) into a very compact syntax. Third, very few people actually use
this syntax.
We’re not actually going to go through the complicated process of actually doing the matrix math. For most readers, it would be an eye-watering wall of apparent gibberish; and for the rest, it would be time wasted on familiar territory. You can certainly research the intricacies of matrix calculations online, and I encourage anyone with an interest to do so. We’ll just look at the basics of syntax and usage in CSS.
Here’s a brief rundown of how it works. Say you have this function applied to an element:
matrix(0.838671,0.544639,-0.692519,0.742636,6.51212,34.0381)
That’s the CSS syntax used to describe this transformation matrix:
0.838671-0.69251906.512120.5446390.742636034.038100100001
Right. So what does that do? It has the result shown in Figure 16-20, which is exactly the same result as writing this:
rotate(33deg)translate(24px,25px)skewX(-10deg)
What this comes down to is that if you’re familiar with or need to make use of matrix calculations, you can and should absolutely use them. If not, you can chain much more human-readable transform functions together and get the element to the same end state.
Now, that was for plain old 2D transforms. What if you want to use a matrix to transform through three dimensions?
| Function | Permitted values |
|---|---|
|
<number> |
Again, just for kicks, we’ll savor the definition of matrix3d() from
the CSS Transforms specification: “specifies a 3D transformation as a
4 × 4 homogeneous matrix of 16 values in column-major order.” This means
the value of matrix3d must be a list of 16 comma-separated numbers,
no more or less. Those numbers are arranged in a 4 × 4 grid in column
order, so the first column of the matrix is formed by the first set of
four numbers in the value, the second column by the second set of four
numbers, the third column by the third set, and so on. Thus, you can
take the following function:
matrix3d(0.838671,0,-0.544639,0.00108928,-0.14788,1,0.0960346,-0.000192069,0.544639,0,0.838671,-0.00167734,20.1281,25,-13.0713,1.02614)
And write it out as this matrix:
0.838671-0.147880.54463920.128101025-0.5446390.09603460.838671-13.07130.00108928-0.000192069-0.001677341.02614
Both of which have an end state equivalent to:
perspective(500px)rotateY(33deg)translate(24px,25px)skewX(-10deg)
as shown in Figure 16-21.
It’s important to keep in mind that only the end states of a matrix()
function, and of an equivalent chain of transform functions, can be
considered identical. This is for the same reason discussed in
the section on rotation: because a rotation angle of 393deg will end
with the same visible rotation as an angle of 33deg. This matters if
you are animating the transformation, since the former will cause the
element to do a barrel roll in the animation, whereas the latter will
not. The matrix() version of this end state won’t include the barrel
roll, either. Instead, it will always use the shortest possible rotation
to reach the end state.
To illustrate what this means, consider the following: a transform chain
and its matrix() equivalent:
rotate(200deg)translate(24px,25px)skewX(-10deg)matrix(-0.939693,-0.34202,0.507713,-0.879385,-14.0021,-31.7008)
Note the rotation of 200 degrees. We naturally interpret this to mean a
clockwise rotation of 200 degrees, which it does. If these two
transforms are animated, however, they will have act differently: the
chained-functions version will indeed rotate 200 degrees clockwise,
whereas the matrix() version will rotate 160 degrees counterclockwise.
Both will end up in the same place, but will get there in different
ways.
There are similar differences that arise even when you might think they
wouldn’t. Once again, this is because a matrix() transformation will
always take the shortest possible route to the end state, whereas a
transform chain might not. (In fact, it probably doesn’t.) Consider
these apparently equivalent transforms:
rotate(160deg)translate(24px,25px)rotate(-30deg)translate(-100px)matrix(-0.642788,0.766044,-0.766044,-0.642788,33.1756,-91.8883)
As ever, they end up in the same place. When animated, though, the elements will take different paths to reach that end state. They might not be obviously different at first glance, but the difference is still there.
None of this matters if you aren’t animating the transformation, but it’s an important distinction to make nevertheless, because you never know when you’ll decide to start animating things. (Hopefully after reading the companion text on animations!)
In addition to the base transform property, there are a few related
properties that help to define things such as the origin point of a
transform, the perspective used for a “scene,” and more.
So far, all of the transforms we’ve seen have shared one thing in
common: the precise center of the element was used as the transform
origin. For example, when rotating the element, it rotated around its
center, instead of, say, a corner. This is the default behavior, but
with the property transform-origin, you can change it.
The syntax definition looks really abstruse and confusing, but it’s actually
fairly simple in practice. With transform-origin, you supply two or three keywords to define the point
around which transforms should be made: first the horizontal, then the
vertical, and optionally a length along the z-axis. For the horizontal and vertical axes,
you can use plain-English keywords like top and right,
percentages, lengths, or a combination of different keyword types.
For the z-axis, you can’t use plain-English keywords or percentages,
but can use any length value. Pixels are by far the most common.
Length values are taken as a distance starting from the top-left corner of the
element. Thus, transform-origin: 5em 22px will place the transform
origin 5 em to the right of the left side of the element, and 22 pixels
down from the top of the element. Similarly, transform-origin:
5em 22px -200px will place it 5 em over, 22 pixels down, and 200 pixels
away; that is, 200 pixels behind the place where the element sits.
Percentages are calculated with respect to the corresponding axis and
size of the element, as offsets from the element’s top-left corner. For
example, transform-origin: 67% 40% will place the transform origin 67
percent of the width to the right of the element’s left side, and 40
percent of the element’s height down from the element’s top side. Figure 16-22 illustrates a few origin calculations.
All right, so if you change the origin, what happens? The easiest way to visualize this is with 2D rotations. Suppose you rotate an element 45 degrees to the right. Its final placement will depend on its origin. Figure 16-23 illustrates the the effects of several different transform origins; in each case, the transform origin is marked with a circle.
The origin matters for other transform types, such as skews and scales. Scaling an element with its origin in the center will pull in all sides equally, whereas scaling an element with a bottom-right origin will cause it to shrink toward that corner. Similarly, skewing an element with respect to its center will result in the same shape as if it’s skewed with respect to the top-right corner, but the placement of the shape will be different. Some examples are shown in Figure 16-24; again, each transform origin is marked with a circle.
The one transform type that isn’t really affected by changing the
transform origin is translation. If you push an element around with
translate(), or its cousins like translateX() and translateY(),
it’s going to end up in the same place regardless of where the transform
origin is located. If that’s all the transforming you plan to do, then
setting the transform origin is irrelevant. If you ever do anything
besides translating, though, the origin will matter. Use it wisely.
If you’re setting elements to be transformed through three
dimensions—using, say, translate3d() or rotateY()—you probably
expect that the elements will be presented as though they’re in a 3D
space. And yet, this is not the default behavior. By default, everything
looks flat no matter what you do. Fortunately, this can be overridden
with the transform-style property.
Suppose you have an element you want to move “closer to” your eye, and then tilt away a bit, with a moderate amount of perspective. Something like this rule, as applied to the following HTML:
div#inner{transform:perspective(750px)translateZ(60px)rotateX(45deg);}<divid="outer">outer<divid="inner">inner</div></div>
So you do that, and get the result shown in Figure 16-25; more or less what you might have expected.
But then you decide to rotate the outer div to one side, and suddenly
nothing makes sense any more. The inner div isn’t where you envisioned
it. In fact, it just looks like a picture pasted to the front of the
outer div.
Well, that’s exactly what it is, because the default value of
transform-style is flat. The inner div got
drawn in its moved-forward-tilted-back state, and that was applied to
the front of the outer div as if it was an image. So when you rotated
the outer div, the flat picture rotated right along with it, as shown
in Figure 16-26:
div#outer{transform:perspective(750px)rotateY(60deg)rotateX(-20deg);}div#inner{transform:perspective(750px)translateZ(60px)rotateX(45deg);}
Change the value to preserve-3d, however, and things are suddenly different.
The inner div will be drawn as a full 3D object with respect to its
parent outer div, floating in space nearby, and not as a picture
pasted on the front of the outer div. You can see the results of this
change in Figure 16-27:
div#outer{transform:perspective(750px)rotateY(60deg)rotateX(-20deg);transform-style:preserve-3d;}div#inner{transform:perspective(750px)translateZ(60px)rotateX(45deg);}
One important aspect of transform-style is that it can be overridden
by other properties. The reason is that some values of these other
properties require a flattened presentation of an element and its
children in order to work at all. In such cases, the value of
transform-style is forced to be flat, regardless of what you may
have declared.
So, in order to avoid this overriding behavior, make sure the following properties are set to the listed values:
overflow: visible
filter: none
clip: auto
clip-path: none
mask-image: none
mask-border-source: none
mix-blend-mode: normal
Those are all the default values for those properties, so as long as you don’t try to change any of them for your preserved 3D elements, you’re fine! But if you find that editing some CSS suddenly flattens out your lovely 3D transforms, one of these properties might be the culprit.
One more note: in addition to the values just mentioned, the value of the property isolation must be, or be computed to be, isolate. (isolation is a compositing property, in case you were wondering.)
There are actually two properties that are used to define how
perspective is handled: one to define the perspective distance, as with
the perspective() function discussed in an earlier section; and
another to define the perspective’s origin point.
First, let’s consider the property perspective, which accepts a length
that defines the depth of the perspective pyramid. At first glance, it
looks just like the perspective() function discussed earlier, but
there are some critical differences.
As a quick example, if you want to create a very deep perspective, one
mimicking the results you’d get from a zoom lens, you might declare
something like perspective: 2500px. For a shallow depth, one that
mimics a closeup fish-eye lens effect, you might declare perspective: 200px.
So how does this differ from the perspective() function? When you use
perspective(), you’re defining the perspective effect for the element
that is given that function. So if you say
transform: perspective(800px) rotateY(-50grad);, you’re applying that
perspective to each element that has the rule applied.
With the perspective property, on the other hand, you’re creating a
perspective depth that is applied to all the child elements of the
element that received the property. Confused yet? Don’t be. Here’s an illustration of the difference, as shown in Figure 16-28:
div{transform-style:preserve-3d;border:1pxsolidgray;width:660px;}img{margin:10px;}#one{perspective:none;}#oneimg{transform:perspective(800px)rotateX(-50grad);}#two{perspective:800px;}#twoimg{transform:rotateX(-50grad);}<div><imgsrc="rsq.gif"><imgsrc="rsq.gif"><imgsrc="rsq.gif"></div><divid="one"><imgsrc="rsq.gif"><imgsrc="rsq.gif"><imgsrc="rsq.gif"></div><divid="two"><imgsrc="rsq.gif"><imgsrc="rsq.gif"><imgsrc="rsq.gif"></div>
In Figure 16-28, we first see a line of images that haven’t been transformed. In the second line, each image has been rotated 50 gradians (equivalent to 45 degrees) toward us, but each one within its own individual perspective.
In the third line of images, none of them has an individual perspective.
Instead, they are all drawn within the perspective defined by
perspective: 800px; that’s been set on the div that contains them.
Since they all operate within a shared perspective, they look “correct”;
that is, like we would expect if we had three physical pictures mounted
on a clear sheet of glass and rotated toward us around the center
horizontal axis of that glass.
Note that presence of transform-style: preserve-3d makes this effect
possible, as discussed in the previous section.
This is the critical difference between perspective, the property; and
perspective(), the function. The former creates a 3D space shared by
all its children. The latter affects only the element to which it’s
applied. A less important difference is that the perspective()
function has to come first or early in its chain of transforms in order
to apply to the element as it’s transformed through 3D space. The
perspective property, on the other hand, is applied to all children,
regardless of where their transforms are declared.
In most cases, you’re going to use the perspective property instead of
the perspective() function. In fact, container divs (or other
elements) are a very common feature of 3D transforms—the way they used
to be for page layout—largely to establish a shared perspective. In the
previous example, the <div id="two"> was there solely to serve as a
perspective container, so to speak. On the other hand, we couldn’t have
done what we did without it.
When transforming elements in three dimensions—assuming you’ve allowed
them to appear three-dimensional, that is—a perspective will be used. (See transform-style and perspective, respectively, in
previous sections.) That perspective will have an origin, which is also
known as the vanishing point, and you can change where it’s located
with the property perspective-origin.
As you may have spotted, perspective-origin and transform-origin have the same value syntax, right down to allowing
an optional length value defining an offset along the z-axis. While the way the values
are expressed is identical, the effects they have are very different.
With transform-origin, you define the point around which transforms
happen. With perspective-origin, you define the point on which sight
lines converge.
As with most 3D transform properties, this is more easily demonstrated than described. Consider the following CSS and markup, illustrated in Figure 16-29:
#container{perspective:850px;perspective-origin:50%0%;}#ruler{height:50px;background:#DEDurl(tick.gif)repeat-x;transform:rotateX(60deg);transform-origin:50%100%;}<divid="container"><divid="ruler"></div></div>
What we have is a repeated background image of tick-marks on a ruler,
with the div that contains them tiled away from us by 60 degrees. All
the lines point at a common vanishing point, the top center of the
container div (because of the 50% 0% value for
perspective-origin).
Now consider that same setup with various perspective origins, as shown in Figure 16-30.
As you can see, moving the perspective origin changes the rendering of the 3D-transformed element.
Note that these only had an effect because we supplied a value for
perspective. If the value of perspective is ever the default none,
then any value given for perspective-origin will be ignored. That
makes sense, since you can’t have a perspective origin when there’s no
perspective at all!
Something you probably never really thought about, over all the years
you’ve been laying out elements, was: what would it look like if I could
see the back side of the element? Now that 3D transforms are a
possibility, there may well come a day when you do see the back side of
an element. You might even mean to do so intentionally. What happens at
that moment is determined by the property backface-visibility.
Unlike many of the other properties and functions we’ve already talked about, this one is pretty uncomplicated. All it does is determine whether the back side of an element is rendered when it’s facing toward the viewer, or not. That’s it.
So let’s say you flip over two elements, one with backface-visibility
set to the default value of visible and the other set to hidden. You
get the result shown in Figure 16-31:
span{border:1pxsolidred;display:inline-block;}img{vertical-align:bottom;}img.flip{transform:rotateX(180deg);display:inline-block;}img#show{backface-visibility:visible;}img#hide{backface-visibility:hidden;}<span><imgsrc="salmon.gif"></span><span><imgsrc="salmon.gif"class="flip"id="show"></span><span><imgsrc="salmon.gif"class="flip"id="hide"></span>
As you can see, the first image is unchanged. The second is flipped over around its x-axis, so we see it from the back. The third has also been flipped, but we can’t see it at all because its backface has been hidden.
This property can come in handy in a number of situations. The simplest is a case where you have two elements that represent the two sides of a UI element that flips over; say, a search area with preference settings on its back, or a photo with some information on the back. Let’s take the latter case. The CSS and markup might look something like this:
section{position:relative;}img,div{position:absolute;top:0;left:0;backface-visibility:hidden;}div{transform:rotateY(180deg);}section:hover{transform:rotateY(180deg);transform-style:preserve-3d;}<section><imgsrc="photo.jpg"alt=""><divclass="info">(…infogoeshere…)</div></section>
Actually, this example shows that using backface-visibility isn’t
quite as simple as it first appears. It’s not that the property itself
is complicated, but if you forget to set transform-style to
preserve-3d, then it won’t work as intended. That’s why
transform-style is set on the section element.
There’s a variant of this example that uses the same markup, but a slightly different CSS to show the image’s backface when it’s flipped over. This is probably more what was intended, since it makes information look like it’s literally written on the back of the image. It leads to the end result shown in Figure 16-32:
section{position:relative;}img,div{position:absolute;top:0;left:0;}div{transform:rotateY(180deg);backface-visibility:hidden;background:rgba(255,255,255,0.85);}section:hover{transform:rotateY(180deg);transform-style:preserve-3d;}
The only thing we had to do to make that happen was to just shift the
backface-visibilty: hidden to the div instead of applying it to both
the img and the div. Thus, the div’s backface is hidden when it’s
flipped over, but that of the image is not.
With the ability to transform elements in two- and three-dimensional space, CSS transforms provide a great deal of power to designers who are looking for new ways to present information. From creating interesting combinations of 2D transforms, to creating a fully 3D-acting interface, transforms open up a great deal of new territory in the design space. There are some interesting dependencies between properties, which is something that not every CSS author will find natural at first, but they become second nature with just a bit of practice.
CSS transitions allow us to animate CSS properties from an original value to a new value over time when a property value changes. These transition an element from one state to another, in response to some change—usually a user interaction, but it can also be due to the scripted change of class, ID, or other state.
Normally, when a CSS property value changes—when a “style change event” occurs—the change is instantaneous. The new property value replaces the old property in the milliseconds it takes to repaint, or reflow and repaint when necessary, the affected content. Most value changes seem instantaneous, taking less than 16 milliseconds1 to render. Even if the changes takes longer, it is still a single step from one value to the next. For example, when changing a background color on mouse hover, the background changes from one color to the next, with no gradual transition.
CSS transitions provide a way to control how a property changes from one value to the next over a period of time. Thus, we can make the property values change gradually, creating pleasant and (hopefully) unobtrusive effects. For example:
button{color:magenta;transition:color200msease-in50ms;}button:hover{color:rebeccapurple;transition:color200msease-out50ms;}
In this example, instead of instantaneously changing a
button’s color value on hover, with CSS transitions the button can be set to
gradually fade from magenta to rebeccapurple over 200 milliseconds,
even adding a 50-millisecond delay before transitioning. Changing the
color, no matter how long or short a time it takes, is a transition. But by adding the
CSS transition property, the color change can happen gradually over a period of time and be perceivable by the human eye.
You can use CSS transitions today, even if you still support IE9 or older browsers. When a browser doesn’t support CSS transition properties, the change is immediate instead of gradual, which is completely fine. If the property or property values specified aren’t animatable, again, the change will be immediate instead of gradual.
When we say “animatable,” we mean any properties that can be animated, whether through transitions or animations (the subject of the next chapter, “Animations.”) See Appendix A for a summary.
Sometimes you want instantaneous value changes. Though we used link colors as an example in the preceding section, link colors usually change instantly on hover, informing sighted users an interaction is occurring and that the hovered content is a link. Similarly, options in an autocomplete listbox shouldn’t fade in: you want the options to appear instantly, rather than fade in more slowly than the user types. Instantaneous value changes are often the best user experience.
At other times, you might want to make a property value change more gradually,
bringing attention to what is occurring. For example, you may want to make a card game more realistic by taking
200 milliseconds to animate the flipping of a card, as the user may not
realize what happened if there is no animation. 
Look for the Play symbol
to know when an online example is available. All of the examples in this chapter can be found at https://meyerweb.github.io/csstdg4figs/17-transitions/.
As another example, you may want some drop-down menus to expand
or become visible over 200 milliseconds (instead of instantly, which may be
jarring). With transitions, you can make a drop-down menu appear
slowly. In Figure 17-1
, we transition the submenu’s height by making a scale transform. This is a common use for CSS transitions, which we will also explore later in this chapter.
In CSS, transitions are written using four transition properties:
transition-property, transition-duration,
transition-timing-function, and transition-delay, along with the
transition property as a shorthand for the four longhand properties.
To create the drop-down navigation from Figure 17-1, we used all four CSS transition properties, in addition to non-transform properties defining the beginning and end states of the transition. The following code could define the transition for the example illustrated in Figure 17-1:
navliul{transition-property:transform;transition-duration:200ms;transition-timing-function:ease-in;transition-delay:50ms;transform:scale(1,0);transform-origin:topcenter;}navli:hoverul{transform:scale(1,1);}
Note that while we are using the :hover state for the style change event in our transition examples, you can transition properties in other scenarios too. For example, you might add or remove a class, or otherwise change the state—say, by changing an input from :invalid to :valid or from :checked to :not(:checked). Or you might append a table row at the end of a zebra-striped table or list item at the end of a list with styles based
on :nth-last-of-type selectors.
In the scenario pictured in Figure 17-1, the initial state of the nested
lists is transform: scale(1, 0) with a
transform-origin: top center. The final state is transform: scale(1, 1): the transform-origin remains the same.
For more information on transform properties, see Chapter 16.
In this example, the transition properties define a transition on the transform
property: when the new transform value is set on hover, the nested
unordered list scales to its original, default size, changing
smoothly between the old value of transform: scale(1, 0) and the new
value of transform: scale(1, 1), all over a period of 200 milliseconds.
This transition starts after a 50-millisecond delay, and “eases in,”
proceeding slowly at first, then picking up speed as it progresses.
Transitions are declared along with the regular styles on an element. Whenever a target property changes, if a transition is set on that property, the browser will apply a transition to make the change gradual.
Note that all the transition properties were set for the unhovered state of the ul elements. The hovered state was only used to change the transform, not the transition. There’s a very good reason for this: it means not only that the menus will slide open when hovered, but will slide closed when the hover state ends.
Imagine if the transition properties were applied via the hover state instead, like this:
navliul{transform:scale(1,0);transform-origin:topcenter;}navli:hoverul{transition-property:transform;transition-duration:200ms;transition-timing-function:ease-in;transition-delay:50ms;transform:scale(1,1);}
That would mean that when not hovered, the element would have default transition values—which is to say, instantaneous transitions. That means the menus in our previous example would slide open on hover, but instantly disappear when the hover state ends—because without being in hover, the transition properties would no longer apply!
It might be that you want exactly this effect: slide smoothly open, but instantly disappear. If so, then apply the transitions to the hover state. Otherwise, apply them to the element directly so that the transitions will apply as the hover state is both entered and exited. When the state change is exited, the transition timing is reversed. You can override this default reverse transition by declaring different transitions in both the initial and changed states.
By “initial state,” we mean a state that matches
the element on page load. This could be a state that the element always
has, such as properties set on an element selector versus a :hover
state for that element. It could mean a content-editable element that could get
:focus, as in the following: 
/* selector that matches elementsallthe time */p[contenteditable]{background-color:rgba(0,0,0,0);}/* selector that matches elementssomeof the time */p[contenteditable]:focus{/* overriding declaration */background-color:rgba(0,0,0,0.1);}
In this example, the fully transparent background is always the initial state, only changing when the user gives the element focus. This is what we mean when we say initial or default value throughout this chapter. The transition properties included in the selector that matches the element all the time will impact that element whenever the state changes, whether it is from the initial state to the changed state (being focused, in the preceding example).
An initial state could also be a temporary state that may change, such
as a :checked checkbox or a :valid form control, or even a class
that gets toggled on and off:
/* selector that matches elementssomeof the time */input:valid{border-color:green;}/* selector that matches elementssomeof the time, when the prior selector does NOT match. */input:invalid{border-color:red;}/* selector that matches elementssomeof the time, whether the input is valid or invalid */input:focus{/* alternative declaration */border-color:yellow;}
In this example, either the :valid or :invalid selector can match any given element, but
never both. The :focus selector, as shown in Figure 17-2, matches whenever an input has focus, regardless of whether the
input is matching the :valid or :invalid selector simultaneously.
In
this case, when we refer to the initial state, we are referring to the
original value, which could be either :valid or :invalid.
The changed state for a given element the opposite of the initial :valid
or :invalid state. 
Remember, you can apply different transition values to the initial and changed states, but you always want to apply the value used when you enter a given state. Take the following code as an example, where the transitions are set up to have menus slide open over 2 seconds but close in just 200 milliseconds:
navliul{transition-property:transform;transition-duration:200ms;transition-timing-function:ease-in;transition-delay:50ms;transform:scale(1,0);transform-origin:topcenter;}navli:hoverul{transition-property:transform;transition-duration:2s;transition-timing-function:linear;transition-delay:1s;transform:scale(1,1);}
This provides a horrible user experience, but it nicely illustrates the point.
When hovered over, the opening of the
navigation takes a full 2 seconds. When closing, it quickly closes over
0.2 seconds. The transition properties in the changed, or hover, state
are in force when hovering over the list item. Thus, the transition-duration: 2s defined for the hover state takes effect.
When a menu is no longer hovered over, it
returns to the default scaled-down state, and the transition properties of
the initial state—the nav li ul condition—are used, causing the menu to take 200ms to close.
Look more closely at the example, specifically the default transition styles. When the user stops hovering over the parent navigational element or the child drop-down menu, the drop-down menu delays 50 milliseconds before starting the 200ms transition to close. This is actually a decent user experience style, because it give users a chance (however brief) to get the mouse point back over a menu before it starts closing.
While the four transition properties can be declared separately, you will probably always use the shorthand. We’ll take a look at the four properties individually first so you have a good understanding of what each one does.
The transition-property property specifies the names of the CSS
properties you want to transition. This allows you to limit the transition to only certain properties, while having other properties change instantaneously. And, yes, it’s weird to say “the transition-property property.”
The value of transition-property is a comma-separated list of
properties; the keyword none if you want no properties transitioned;
or the default all, which means “transition all the animatable
properties.” You can also include the keyword all within a
comma-separated list of properties.
If you include all as the only keyword—or default to all—all animatable
properties will transition in unison. Let’s say you want to change a box’s appearance on hover:
div{color:#ff0000;border:1pxsolid#00ff00;border-radius:0;transform:scale(1)rotate(0deg);opacity:1;box-shadow:3px3pxrgba(0,0,0,0.1);width:50px;padding:100px;}div:hover{color:#000000;border:5pxdashed#000000;border-radius:50%;transform:scale(2)rotate(-10deg);opacity:0.5;box-shadow:-3px-3pxrgba(255,0,0,0.5);width:100px;padding:20px;}
When the mouse pointer hovers over the div, every property that has a different
value in the initial state versus the hovered (changed) state will change to the
hover-state values. The transition-property property is used to define
which of those properties are animated over time (versus
instantly). All the properties change from the default value to the
hovered value on hover, but only the animatable properties included in
the transition-property transition over the transition’s duration. Non-animatable
properties like border-style change from one value to the next
instantly.
If all is the only value or the last value
in the comma-separated value for transition-property, then all the
animatable properties will transition in unison. Otherwise, provide a comma-separated list of properties to be affected by the transition properties.
Thus, if we want to transition all the properties, the following statements are almost equivalent:
div{color:#ff0000;border:1pxsolid#00ff00;border-radius:0;transform:scale(1)rotate(0deg);opacity:1;box-shadow:3px3pxrgba(0,0,0,0.1);width:50px;padding:100px;transition-property:color,border,border-radius,transform,opacity,box-shadow,width,padding;transition-duration:1s;}div{color:#ff0000;border:1pxsolid#00ff00;border-radius:0;transform:scale(1)rotate(0deg);opacity:1;box-shadow:3px3pxrgba(0,0,0,0.1);width:50px;padding:100px;transition-property:all;transition-duration:1s;}
Both transition-property property declarations will transition all the
properties listed—but the former will transition only the eight
properties that may change, based on property declarations that may be
included in other rule blocks. Those eight property values are included
in the same rule block, but they don’t have to be.
The transition-property: all in the latter rule ensures that all animatable property
values that would change based on any style change event—no matter
which CSS rule block includes the changed property value—transitions over one second.
The transition applies to all animatable properties of all elements
matched by the selector, not just the properties declared in the same
style block as the all.
In this case, the first version limits the transition to only the eight properties listed, but enables us to provide more control over how each property will transition. Declaring the properties individually lets us provide different speeds, delays, and/or durations to each property’s transition if we declared those transition properties separately:
div{color:#ff0000;border:1pxsolid#0f0;border-radius:0;transform:scale(1)rotate(0deg);opacity:1;box-shadow:3px3pxrgba(0,0,0,0.1);width:50px;padding:100px;}.foo{color:#00ff00;transition-property:color,border,border-radius,transform,opacity,box-shadow,width,padding;transition-duration:1s;}
<divclass="foo">Hello</div>
If you want to define the transitions for each property separately,
write them all out, separating each of the properties with a comma. If
you want to animate almost all the properties at the same time, delay,
and pace, with a few exceptions, you can use a combination of all and
the individual properties you want to transition at different times,
speeds, or pace. Make sure to use all as the first value:
div{color:#f00;border:1pxsolid#00ff00;border-radius:0;transform:scale(1)rotate(0deg);opacity:1;box-shadow:3px3pxrgba(0,0,0,0.1);width:50px;padding:100px;transition-property:all,border-radius,opacity;transition-duration:1s,2s,3s;}
The all part of the comma-separated value includes all the properties
listed in the example, as well as all the inherited CSS properties, and
all the properties defined in any other CSS rule block matching or inherited by the element.
In the preceding example, all the properties getting new values
will transition at the same duration, delay, and timing function, with
the exception of border-radius and opacity, which we’ve explicitly
included separately. Because we included them as part of a comma-separated
list after the all, we can transition them at the the same time,
delay, and timing function as all the other properties, or we can provide
different times, delays, and timing functions for these two properties. In this case, we transition all the properties over one
second, except for border-radius and opacity, which we transition
over two seconds and three seconds respectively. (transition-duration is covered in an upcoming section.)
Make sure to use all as the first value in your comma-separated value list, as the properties
declared before the all will be included in the all, overriding any
other transition property values you intended to apply to those now
overridden properties.
While transitioning over time doesn’t happen by default, if you do include a CSS
transition and want to override that transition in a particular scenario, you can set
transition-property: none to override the entire transition and ensure no properties are transitioned.
The none keyword can only be
used as a unique value of the property—you can’t include it as part
of a comma-separated list of properties. If you want to override the
transition of a limited set of properties, you will have to list all of
the properties you still want to transition. You can’t use the
transition-property property to exclude properties; rather, you can
only use that property to include them.
Another method would be to set
the delay and duration of the property to 0s. That way it will appear
instantaneously, as if no CSS transition is being applied to it.
In the DOM, a transitionend event if fired at the end of every transition, in either
direction, for every property that is transitioned over any amount of
time or after any delay. This happens whether the property is declared individually
or is part of the all declaration. For some seemingly single property
declarations, there will be several transitionend events, as every
animatable property within a shorthand property gets its own transitionend event. Consider:
div{color:#f00;border:1pxsolid#00ff00;border-radius:0;transform:scale(1)rotate(0deg);opacity:1;box-shadow:3px3pxrgba(0,0,0,0.1);width:50px;padding:100px;transition-property:all,border-radius,opacity;transition-duration:1s,2s,3s;}
When the transitions conclude, there will be well
over eight transitionend events. For example, the border-radius
transition alone produces four transitionend events, one each for:
border-bottom-left-radius
border-bottom-right-radius
border-top-right-radius
border-top-left-radius
The padding property is also a shorthand for four longhand properties:
padding-top
padding-right
padding-bottom
padding-left
The border shorthand property produces eight transitionend events:
four values for the four properties represented by the border-width shorthand, and four for the properties represented by border-color:
border-left-width
border-right-width
border-top-width
border-bottom-width
border-top-color
border-left-color
border-right-color
border-bottom-color
There are no transitionend events for border-style properties, however, as
border-style is not an animatable property.
How do we know border-style isn’t animatable? We can assume it isn’t, since there
is no logical midpoint between the two values of solid and dashed.
We can confirm by looking up the list of animatable properties in Appendix A or the specifications for the individual properties.
There will be 21 transitionend events in our scenario in which 8
specific properties are listed, as those 8 include several shorthand
properties that have different values in the pre and post states.
In the case of all, there will be at least 21 transitionend events:
one for each of the longhand values making up the 8 properties we know are included in the pre and
post states, and possibly from others that are inherited or declared in
other style blocks impacting the element: 
You can listen for transitionend events in a manner like this:
document.querySelector('div').addEventListener('transitionend',function(e){console.log(e.propertyName);});
The transitionend event includes three event specific attributes:
propertyName, which is the name of the CSS property that just finished transitioning.
pseudoElement, which is the pseudoelement upon which the transition occurred, preceded by two semicolons,
or an empty string if the transition was on a regular DOM node.
elapsedTime, which is the amount of time the transition took to run, in
seconds; usually this is the time listed in the transition-duration
property.
The transitionend event only occurs if the property successfully
transitions to the new value. The transitioned event doesn’t fire if
the transition was interrupted, such as by another change to the same property on the same element.
When the properties return to their initial value, another
transitionend event occurs. This event occurs as long as the
transition started, even if it didn’t finish its initial transition in the
original direction.
The transition-duration property takes as its value a comma-separated
list of lengths of time, in seconds (s) or milliseconds (ms). These values describe the time it will
take to transition from one state to another.
If reverting between two states, and the duration is only present in a declaration applying to one of those states, the transition duration will only impact the transition to that state. Consider:
input:invalid{transition-duration:1s;background-color:red;}input:valid{transition-duration:0.2s;background-color:green;}
If different values for the transition-duration are declared, the
duration of the transition will be the transition-duration value declared in the rule block to which it is transitioning. In the preceding example, it will take 1 second for the input to change to a red background when it becomes invalid, and only 200 milliseconds to transition to a green background when it becomes valid. 
The value of the transition-duration property is a
positive value in either seconds (s) or milliseconds (ms). The time unit of ms or s is required by the specification, even if the
duration is set to 0s. By default, properties change from one value to the next instantly, showing no visible animation, which is why the default value for the duration of a transition is 0s.
Unless there is a positive value for transition-delay set on a property, if transition-duration is omitted, it is as if no transition-property declaration had been
applied—with no transitionend event occuring. As long
as the total time set for a transition to occur is greater than zero seconds—which can happen with a duration of 0s or when the
transition-duration is omitted and defaults to 0s—the transition will still be
applied, and a transitionend event will occur when the transition
finishes.
Negative values for transition-duration are invalid, and, if included, will invalidate the entire
property value.
Using the same super-long transition-property declaration from before, we
can declare a single duration for all the properties or individual
durations for each property, or we can make alternate properties animate
for the same length of time. We can declare a single duration that applies to all properties during the transition by including a single transition-duration value:
div{color:#ff0000;...transition-property:color,border,border-radius,transform,opacity,box-shadow,width,padding;transition-duration:200ms;}
We can also declare the same number of comma-separated time
values for the transition-duration property value as the CSS
properties listed in the transition-property property value. If
we want each property to transition over a different length of time, we
have to include a different comma-separated value for each property name
declared:
div{color:#ff0000;...transition-property:color,border,border-radius,transform,opacity,box-shadow,width,padding;transition-duration:200ms,180ms,160ms,140ms,120ms,100ms,1s,2s;}
If the number of properties declared does not match the number of
durations declared, the browser has specific rules on how to handle the
mismatch. If there are more durations than properties, the extra
durations are ignored. If there are more properties than durations, the
durations are repeated. In this example, color, border-radius, opacity, and width have a duration of 100 ms; border, transform, box-shadow, and padding will be set to 200 ms:
div{...transition-property:color,border,border-radius,transform,opacity,box-shadow,width,padding;transition-duration:100ms,200ms;}
If we declare exactly two comma-separated durations, every odd property will transition over the first time declared, and every even property will transition over the second time value declared.
User experience is important. If a transition is too slow, the website will appear slow or unresponsive, drawing unwanted focus to what should be a subtle effect. If a transition is too fast, it may be too subtle to be noticed. While you can declare any positive length of time you want for your transitions, your goal is likely to provide an enhanced rather than annoying user experience. Effects should last long enough to be seen, but not so long as to be noticeable. Generally, the best effects range between 100 and 200 milliseconds, creating a visible, yet not distracting, transition.
We want a good user experience for our drop-down menu, so we set both properties to transition over 200 milliseconds:
navliul{transition-property:transform,opacity;transition-duration:200ms;...}
Do you want your transition to start off slow and get faster, start off
fast and end slower, advance at an even keel, jump through various steps,
or even bounce? The transition-timing-function provides a way to
control the pace of the transition.
The transition-timing-function values include ease, linear,
ease-in, ease-out, ease-in-out, step-start, step-end,
steps(n, start)—where n is the number of steps—steps(n, end), and cubic-bezier(x1, y1, x2, y2). (These values are
also the valid values for the animation-timing-function and are
described in great detail in Chapter 18.)
The non-step keywords are easing timing functions that server as aliases for cubic Bézier mathematical functions that provide smooth curves. The specification provides for five predefined easing functions, as shown in Table 17-1.
| Timing function | Description | Cubic Bezier value |
|---|---|---|
cubic-bezier() |
Specifies a cubic-bezier curve |
cubic-bezier(x1, y1, x2, y2)
|
ease |
Starts slow, then speeds up, then slows down, then ends very slowly |
cubic-bezier(0.25, 0.1, 0.25, 1)
|
linear |
Proceeds at the same speed throughout transition |
cubic-bezier(0, 0, 1, 1)
|
ease-in |
Starts slow, then speeds up |
cubic-bezier(0.42, 0, 1, 1)
|
ease-out |
Starts fast, then slows down |
cubic-bezier(0, 0, 0.58, 1)
|
ease-in-out |
Similar to ease; faster in the middle, with a slow start but not as slow at the end |
cubic-bezier(0.42, 0, 0.58, 1)
|
Cubic Bézier curves, including the underlying curves defining the
five named easing functions defined in Table 17-1 and displayed in Figure 17-3, take four numeric parameters. For example,
linear is the same as cubic-bezier(0, 0, 1, 1). The first and third
cubic Bézier function parameter values need to be between 0 and +1.
The four numbers in a cubic-bezier() function define the x and y coordinates of two handles within a box. These handles are the endpoints of lines that stretch from the bottom-left and top-right corners of the box. The curve is constructed using the two corners, and the two handles’ coordinates, via a Bézier function.
To get an idea of how this works, look at the curves and their corresponding values, as shown in Figure 17-4.
Consider the first example. The first two values, corresponding to x1 and y1, are 0.5 and 1. If you go halfway across the box (x1 = 0.5) and all the way to the top of the box (y1 = 1), you land at the spot where the first handle is placed. Similarly, the coordinates 0.5,0 for x2,y2 describes the point at the center bottom of the box, which is where the second handle is placed. The curve shown there results from those handle placements.
In the second example, the handle positions are switched, with the resulting change in the curve. Ditto for the third and fourth examples, which are inversions of each other. Notice how different the resulting curve is when switching the handle positions.
The predefined key terms are fairly limited. To better follow the principles of animation, you may want to use a cubic Bézier function with four float values instead of the predefined key words. If you’re a whiz at calculus or have a lot of experience with programs like Freehand or Illustrator, you might be able to invent cubic Bézier functions in your head; otherwise, there are online tools that let you play with different values, such as http://cubic-bezier.com/, which lets you compare the common keywords against each other, or against your own cubic Bézier function.
As shown in Figure 17-5, the website http://easings.net provides many additional cubic Bézier function values you can use to provide for a more realistic, delightful animation.
While the authors of the site named their animations, the preceding names are not part of the CSS specifications, and must be written as follows:
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There are also step timing functions available, as well as two predefined step values:
| Timing function | Definition |
|---|---|
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Stays on the final keyframe throughout transition. Equal to |
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Stays on the initial keyframe throughout transition. Equal to |
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Displays n stillshots, where the first stillshot is n/100 percent of the way through the transition. |
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Displays n stillshots, staying on the initial values for the first n/100 percent of the time. |
As Figure 17-6 shows, the stepping functions show the progression of the transition from the initial value to the final value in steps, rather than as a smooth curve.
The step functions allow you to divide the transition over equidistant
steps. The functions define the number and direction of steps. There are
two direction options: start and end. With start, the first step
happens at the animation start. With end, the last step happens at the
animation end. For example, steps(5, end) would jump through the
equidistant steps at 0%, 20%, 40%, 60%, and 80%; and steps(5, start)
would jump through the equidistant steps at 20%, 40%, 60%, 80%, and 100%.
The step-start function is the same as steps(1, start). When used, transitioned property values stay on their final values from the
beginning until the end of the transition. The step-end function,
which is the same as steps(1, end), sets transitioned values to their initial values, staying there throughout the transition’s duration.
Step timing, and especially the precise meaning of start and end, is discussed in depth in Chapter 18.
Continuing on with the same super-long transition-property declaration we’ve used before, we can declare a single timing function for all the properties, or
define individual timing functions for each property and so on. Here, we set all the transitioned properties to a single duration:
div{transition-property:color,border-width,border-color,border-radius,transform,opacity,box-shadow,width,padding;transition-duration:200ms;transition-timing-function:ease-in;}
We can also create a horrible user experience by making every property transition at a different rhythm, like this:
Always remember that the transition-timing-function does
not change the time it takes to transition properties: that is set with
the transition-duration property. It just changes how the
transition progresses during that set time. Consider the following:
div{...transition-property:color,border-width,border-color,border-radius,transform,opacity,box-shadow,width,padding;transition-duration:200ms;transition-timing-function:ease,ease-in,ease-out,ease-in-out,linear,step-end,step-start,steps(5,start),steps(3,end);}
If we include these nine different timing functions for the nine different properties, as long as they have the same transition duration and delay, all the properties start and finish transitioning at the same time. The timing function controls how the transition progresses over the duration of the transition, but does not alter the time it takes for the transition to finish. (The preceding transition would be a terrible user experience, by the way. Please don’t do that.)
The best way to familiarize yourself with
the various timing functions is to play with them and see which one works best
for the effect you’re looking for. While testing, set a relatively long
transition-duration to better visualize the difference between the
various functions.
At higher speeds, you may not be able to tell the
difference with the easing function; just don’t forget to set it back to
a faster speed before publishing the result to the web!
The transition-delay property enables you to introduce a time delay
between when the change that initiates the transition is applied to an
element, and when the transition begins.
A transition-delay of 0s (the default) means the transition will begin immediately—it will start executing as soon as the state of the element is altered. This is familiar from the instant-change effect of a:hover, for example.
With a value other than 0s, the <time> value of
transition-delay defines the time offset from the moment the property
values would have changed, had no transition or transition-property
been applied, until the property values declared in the transition or
transition-property value begin animating to their final values.
Interestingly, negative values of time are valid. The effects you can create with
negative transition-delays are described in “Negative delay values”.
Continuing with the 8- (or 21-) property transition-property declaration we’ve been using, we can make all the properties start transitioning right away by omitting the transition-delay property, or by including it with a value of 0s. Another possibility is to start half the transitions right away, and the rest 200 milliseconds later, as in the the following:
div{transition-property:color,border,border-radius,transform,opacity,box-shadow,width,padding;transition-duration:200ms;transition-timing-function:linear;transition-delay:0s,200ms;}
By including transition-delay: 0s, 200ms on a series of properties,
each taking 200 milliseconds to transition, we make color, border-radius, opacity, and width begin their
transitions immediately. All the rest begin
their transitions as soon as the odd transitions have completed, because their transition-delay is equal to the transition-duration applied to all the properties.
As with transition-duration and transition-timing-function, when the
number of comma-separated transition-delay values outnumbers the
number of comma-separated transition-property values, the extra delay
values are ignored. When the number of comma-separated
transition-property values outnumbers the number of comma-separated
transition-delay values, the delay values are repeated.
We can even declare nine different transition-delay values so that each
property begins transitioning after the previous property has
transitioned, as follows:
div{...transition-property:color,border-width,border-color,border-radius,transform,opacity,box-shadow,width,padding;transition-duration:200ms;transition-timing-function:linear;transition-delay:0s,0.2s,0.4s,0.6s,0.8s,1s,1.2s,1.4s,1.6s;}
In this example, we declared each transition to
last 200 milliseconds with the transition-duration property. We then declare a
transition-delay that provides comma-separated delay values for each
property that increment by 200 milliseconds, or 0.2 seconds—the same time as the
duration of each property’s transition. Each property
starts transitioning at the point the previous property has finished.
We can use math to give every transitioning property different durations and delays, ensuring they all complete transitioning at the same time:
div{...transition-property:color,border-width,border-color,border-radius,transform,opacity,box-shadow,width,padding;transition-duration:1.8s,1.6s,1.4s,1.2s,1s,0.8s,0.6s,0.4s,0.2s;transition-timing-function:linear;transition-delay:0s,0.2s,0.4s,0.6s,0.8s,1s,1.2s,1.4s,1.6s;}
In this example, each property completes transitioning at the
1.8-second mark, but each with a different duration and delay. For each
property, the transition-duration value plus the transition-delay
value will add up to 1.8 seconds.
Generally, you want all the transitions to begin at the same time. You can make that happen by
including a single transition-delay value, which gets applied to all
the properties. In our drop-down menu in Figure 17-1, we include a delay of
50 milliseconds. This delay is not long enough for the user to notice and will not
cause the application to appear slow. Rather, a 50-millisecond delay can help
prevent the navigation from shooting open unintentionally as the user accidentally passes over, or hovers over, the menu items while moving the cursor from one part of the page or app to another.
A negative value for
transition-delay that is smaller than the transition-duration will
cause the transition to
start immediately, partway through the transition. For example: 
div{transform:translateX(0);transition-property:transform;transition-duration:200ms;transition-delay:-150ms;transition-timing-function:linear;}div:hover{transform:translateX(200px);}
Given the transition-delay of -150ms on a 200ms
transition, the transition will start three-quarters of the way through
the transition and will last 50 milliseconds. In that scenario, with a linear
timing function, it jumps to being translated 150px along the
x-axis immediately on hover and then animates the translation from
150 pixels to 200 pixels over 50 milliseconds.
If the absolute value of the negative transition-delay is greater than
or equal to the transition-duration, the change of property values is
immediate, as if no transition had been applied, and no transitionend event occurs.
When transitioning back from the hovered state to the original state, by
default, the same value for the transition-delay is applied. In the
preceding scenario, since the transition-delay is not overridden in the
hover state, it will jump 75% of the way back (or 25% of the way through
the original transition) and then transition back to the initial state.
On mouseout, it will jump to being translated 50 pixels along the x-axis and
then take 50 milliseconds to return to its initial position of being translated
0 pixels along the x-axis.
The transition shorthand property combines the four properties covered thus far—transition-property, transition-duration,
transition-timing-function, and transition-delay—into a single
shorthand property.
The transition property accepts the value of none, or any number of
comma-separated list of single transitions. A single transition
contains a single property to transition, or the keyword all to
transition all the properties; the duration of the
transition; the timing function; and the delay.
If a single transition within the transition shorthand omits the
property to transition, the single transition
will default to all. If the transition-timing-function value is
omitted, it will default to ease. If only one time value is included,
that will be the duration, and there will be no delay, as if
transition-delay were set to 0s.
Within each single transition, the order of the duration versus the delay is important: the first value that can be parsed as a time will be set as the duration. If an additional time value is found before the comma or the end of the statement, that will be set as the delay.
Here are three equivalent ways to write the same transition effects:
navliul{transition:transform200msease-in50ms,opacity200msease-in50ms;}navliul{transition:all200msease-in50ms;}navliul{transition:200msease-in50ms;}
In the first example, we see shorthand for each of
the two properties. Because we are transitioning all the properties that
change on hover, we could use the keyword all, as shown in the second
example. And, since all is the default value, we could write the
shorthand with just the duration, timing function, and delay. Had we used
ease instead of ease-in, we could have omitted the timing function,
since ease is the default.
We had to include the duration, or no transition would be visible. In
other words, the only portion of the transition property value that can truly be
considered required is transition-duration.
If we only wanted to delay the change from closed menu to open menu
without a gradual transition, we would still need to include a duration of 0s. Remember, the first value parsable as time will be set as the
duration, and the second one will be set as the delay:
navliul{transition:0s200ms;...
This transition will wait 200 milliseconds, then show the drop-down fully open and
opaque with no gradual transition. This is horrible user experience.
Though if you switch the selector from nav li ul to *, it might make
for an April Fools’ joke.
If there is a comma-separated list of transitions (versus just a single
declaration) and the word none is included, the entire transition
declaration is invalid and will be ignored:
div{transition-property:color,border-width,border-color,border-radius,transform,opacity,box-shadow,width,padding;transition-duration:200ms,180ms,160ms,140ms,120ms,100ms,1s,2s,3s;transition-timing-function:ease,ease-in,ease-out,ease-in-out,linear,step-end,step-start,steps(5,start),steps(3,end);transition-delay:0s,0.2s,0.4s,0.6s,0.8s,1s,1.2s,1.4s,1.6s;}div{transition:color200ms,border-width180msease-in200ms,border-color160msease-out400ms,border-radius140msease-in-out600ms,transform120mslinear800ms,opacity100msstep-end1s,box-shadow1sstep-start1.2s,width2ssteps(5,start)1.4s,padding3ssteps(3,end)1.6s;}
The two preceding CSS rule blocks are functionally equivalent: you can
declare comma-separated values for the four longhand transition
properties, or you can include a comma-separated list of multiple shorthand
transitions. You can’t, however, mix the two:
transition: transform, opacity 200ms ease-in 50ms will ease in the
opacity over 200 milliseconds after a 50-millisecond delay, but the transform change will be
instantaneous, with no transitionend event.
In the preceding examples, we’ve declared a single transition. All our
transitions have been applied in the default state and initiated with a
hover. With these declarations, the properties return back to the
default state via the same transition on mouseout, with a reversing of
the timing function and a duplication of the delay.
With transition declarations only in the global state, both the hover
and mouseout states use the same transition declaration: the
selector matches both states. We can override this duplication of the
entire transition or just some of the transition properties by
including different values for transition properties in the global
(versus the hover-only) state.
When declaring transitions in multiple states, the transition included is to that state:
a{background:yellow;transition:200msbackground-colorlinear0s;}a:hover{background-color:orange;/* delay when going TO the :hover state */transition-delay:50ms;}
In this scenario, when the user hovers over a link, the background
color waits 50 milliseconds before transitioning to orange. When the user
mouses off the link, the background starts transitioning back to yellow
immediately. In both directions, the transition takes 200 milliseconds to complete, and the gradual change proceeds in a linear manner. The 50 milliseconds is included in the :hover (orange) state. The delay happens, therefore, as the background changes to orange. 
In our drop-down menu example, on :hover, the menu appears and grows
over 200 milliseconds, easing in after a delay of 50 milliseconds. The transition is set with the transition property in the default (non-hovered) state. When the user mouses out, the properties revert over 200 milliseconds, easing out after a delay of 50 milliseconds. This reverse effect is responding to the transition value from the non-hovered state. This is the default behavior, but it’s something we can control. The best user experience is
this default behavior, so you likely don’t want to alter it—but it’s important to know that you can.
If we want the closing of the menu to be jumpy and slow (we don’t want to do that; it’s bad user experience. But for the sake of this example, let’s pretend we do), we can declare two different transitions:
navulul{transform:scale(1,0);opacity:0;...transition:all4ssteps(8,start)1s;}navli:hoverul{transform:scale(1,1);opacity:1;transition:all200mslinear50ms;}
Transitions are to the to state: when there’s a style change, the
transition properties used to make the transition are the new values of
the transition properties, not the old ones. We put the smooth, linear
animation in the :hover state. The transition that applies is the one
we are going toward. In the preceding example, when the user hovers over
the drop-down menu’s parent li, the opening of the drop-down menu will
be gradual but quick, lasting 200 milliseconds after a delay of 50 milliseconds. When the user
mouses off the drop-down menu or its parent li, the transition will
wait one second and take four seconds to complete, showing eight steps along the
way.
When we only have one transition, we put it in the global from state, as you want the transition to occur toward any state, be that a hovering or a class change. Because we want the transition to occur with any change, we generally put the only transition declaration in the initial, default (least specific) block. If you do want to exert more control and provide for different effects depending on the direction of the transition, make sure to include a transition declaration in all of the possible class and UI states.
Beware of having transitions on both ancestors and descendants. Transitioning properties soon after making a change that transition ancestral or descendant nodes can have unexpected outcomes. If the transition on the descendant completes before the transition on the ancestor, the descendant will then resume inheriting the (still transitioning) value from its parent. This effect may not be what you expected.
When a transition is interrupted before it is able to finish (such as mousing off of our drop-down menu example before it finishes opening), property values are reset to the values they had before the transition began, and the properties transition back to those values. Because repeating the duration and timing functions on a reverting partial transition can lead to an odd or even bad user experience, the CSS transitions specification provides for making the reverting transition shorter.
In our menu example, we have a transition-delay of
50ms set on the default state and no transition properties declared on the hover state; thus, browsers will wait 50 milliseconds before beginning the
reverse or closing transition.
When the forward animation finishes transitioning to the final values and the transitionend event
is fired, all browsers will duplicate the transition-delay in the
reverse states.
As Table 17-2 shows, if the transition didn’t finish—say, if the user moved off the navigation before the transition finished—all browsers except Microsoft Edge will repeat the delay in the reverse direction. Some browsers replicate the transition-duration as well, but
Edge and Firefox have implemented the specification’s reverse
shortening factor.
| Browser | Reverse delay | Transition time | Elapsed time |
|---|---|---|---|
Chrome |
Yes |
200 ms |
0.200 s |
Chrome |
Yes |
200 ms |
0.250 s |
Safari |
Yes |
200 ms |
0.200 s |
Firefox |
Yes |
38 ms |
0.038 s |
Opera |
Yes |
200 ms |
0.250 s |
Edge |
No |
38 ms |
0.038 s |
Let’s say the user moves off that menu 75 milliseconds after it started transitioning. This means the drop-down menu will animate closed without ever being fully opened and fully opaque. The browser should have a 50-millisecond delay before closing the menu, just like it waited 50 milliseconds before starting to open it.
This is actually a good user experience, as it provides a few milliseconds of delay before closing, preventing jerky behavior if the user accidentally navigates off the menu. As shown in Table 17-2, all browsers do this, except Microsoft Edge.
Even though we only gave the browser 75 milliseconds to partially open the
drop-down menu before closing
the menu, some browsers will take 200 milliseconds—the full value of the
transition-duration property—to revert. Other browsers, including
Firefox and Edge, have implemented the CSS specification’s reversing
shortening factor and the reversing-adjusted start value. When
implemented, the time to complete the partial transition in the reverse
direction will be similar to the original value, though not necessarily
exact.
In the case of a step timing function, Firefox and Edge will take the
time, rounded down to the number of steps the function has completed. For example,
if the transition was 10 seconds with 10 steps, and the properties
reverted after 3.25 seconds, ending a quarter of the way between the
third and fourth steps (completing 3 steps, or 30% of the transition), it
will take 3 seconds to revert to the previous values. In the following
example, the width of our div will grow to 130 pixels wide before it begins
reverting back to 100 pixels wide on mouseout:
div{width:100px;transition:width10ssteps(10,start);}div:hover{width:200px;}
While the reverse duration will be rounded down to the time it took to reach the most recently-executed step, the reverse direction will be split into the originally declared number of steps, not the number of steps that completed. In our 3.25-second case, it will take 3 seconds to revert through 10 steps. These reverse transition steps will be shorter in duration at 300 milliseconds each, each step shrinking the width by 3 pixels, instead of 10 pixels.
If we were animating a sprite by
transitioning the background-position
, this would look really bad. The
specification and implementations may change to make the reverse
direction take the same number of steps as the partial transition.
Other browsers currently take 10 seconds, reverting the progression of
the 3 steps over 10 seconds across 10 steps—taking a full second to
grow the width in 3-pixel steps.
Browsers that haven’t implemented shortened reversed timing will take the full 10 seconds, instead of only
3, splitting the transition into 10 steps, to reverse the 30% change.
Whether the initial transition completed or not, these browsers will
take the full value of the initial transition duration, less the
absolute value of any negative transition-delay, to reverse the
transition, no matter the timing function. In the steps case just shown, the
reverse direction will take 10 seconds. In our navigation example, it
will reverse over 200 milliseconds, whether the navigation has fully scaled up or not.
For browsers that have implemented the reversing timing adjustments, if the
timing function is linear, the duration will be the same in both
directions. If the timing function is a step function, the reverse
duration will be equal to the time it took to complete the last
completed step. All other cubic-bezier functions will have a duration that is proportional to progress the initial transition made before being interrupted. Negative transition-delay values are also proportionally shortened. Positive delays remain unchanged in both directions.
No browser will have a transitionend for the hover state, as the
transition did not end; but all browsers will have a transitionend
event in the reverse state when the menu finishes collapsing. The
elapsedTime for that reverse transition depends on whether the browser
took the full 200 milliseconds to close the menu, or if the browser takes as long to close the menu as it did to partially open the menu.
To override these values, include transition properties in both the initial and final states (e.g., both the unhovered and hovered styles). While this does not impact the reverse shortening, it does provide more control.
Before implementing transitions and animations, it’s important to understand that not all properties are animatable. You can transition (or animate) any animatable CSS properties; but which properties are animatable?
While we’ve included a list of these properties in Appendix A, CSS is evolving, and the animatable properties list will likely get new additions.
One key to developing a sense for which properties can be animated is to identify which have values that can be interpolated. Interpolation is the construction of data points between the values of known data points. The key guideline to determining if a property value is animatable is whether the computed value can be interpolated. If a property’s computed values are keywords, they can’t be interpolated; if its keywords compute to a number of some sort, they can be. The quick rule of thought is that if you can determine a midpoint between two property values, those property values are probably animatable.
For example, the display values like
block and inline-block aren’t numeric and therefore don’t have a
midpoint; they aren’t animatable. The transform property values of
rotate(10deg) and rotate(20deg) have a midpoint of rotate(15deg); they are animatable.
The border property is shorthand for border-style, border-width,
and border-color (which, in turn, are themselves shorthand properties
for the four side values). While there is no midpoint between any of the
border-style values, the border-width property length units are
numeric, so they can be animated. The keyword values of medium, thick, and
thin have numeric equivalents and are interpolatable: the computed
value of the border-width property computes those keywords to lengths.
In the border-color value, colors are numeric—the named
colors all represent hexadecimal color values—so colors are
animatable as well. If you transition from border: red solid 3px to
border: blue dashed 10px, the border width and border colors will
transition at the defined speed, but border-style will jump from
solid to dashed as soon as the transition begins (after any delay).
As noted (see Appendix A), numeric values tend to be animatable. Keyword values that
aren’t translatable to numeric values generally aren’t. CSS functions
that take numeric values as parameters generally are animatable. One
exception to this rule is visibility: while there is no
midpoint between the values of visible and hidden, visibility
values are interpolatable between visible and not-visible. When it comes
to the visibility property, either the initial value or the destination
value must be visible or no interpolation can happen. The value will
change at the end of the transition from visible to hidden. For a
transition from hidden to visible, it changes at the start of the
transition.
auto should generally be considered a non-animatable value and should
be avoided for animations and transitions. According to the
specification, it is not an animatable value, but some browsers
interpolate the current numeric value of auto (such as height: auto)
to be 0px. auto is non-animatable for properties like
height, width, top, bottom, left, right, and margin.
Often an alternative property or value may work. For example,
instead of changing height: 0 to height: auto, use max-height: 0
to max-height: 100vh, which will generally create the expected
effect. The auto value is animatable for min-height and min-width,
since min-height: auto actually computes to 0.
Interpolation can happen when values falling between two or more known values can be determined. Interpolatable values can be transitioned and animated.
Numbers are interpolated as floating-point numbers. Integers are interpolated as whole numbers, incrementing or decrementing as whole numbers.
In CSS, length and percentage units are translated into real numbers.
When transitioning or animating calc(), or from one type of length to
or from a percentage, the values will be converted into a calc()
function and interpolated as real numbers.
Colors, whether they are HSLA, RGB, or named colors like aliceblue, are translated to their RGBA equivalent values for transitioning, and interpolated across the RGBA color space.
When animating font weights, if you use keywords like bold, they’ll
be converted to numeric values and animated in steps of multiples of
100. This may change in the future, as font weights may be permitted to take any integer value, in which case weights will be interpolated as integers instead of multiples of 100.
When including animatable property values that have more than one
component, each component is interpolated appropriately for that
component. For example, text-shadow has up to four components: the
color, x, y, and blur. The color is interpolated as color: the x, y,
and blur components are interpolated as lengths. Box shadows have two
additional optional properties: inset (or lack thereof) and spread.
spread, being a length, is interpolated as such. The inset keyword
cannot be converted to a numeric equivalent: you can transition from one
inset shadow to another inset shadow, or from one drop shadow to another
drop shadow multicomponent value, but there is no way to gradually
transition between inset and drop shadows.
Similar to values with more than one component, gradients can be transitioned only if you are transitioning gradients of the same type (linear or radial) with equal numbers of color stops. The colors of each color stop are then interpolated as colors, and the position of each color stop is interpolated as length and percentage units.
When you have simple lists of other types of properties, each item in the list is interpolated appropriately for that type—as long as the lists have the same number of items or repeatable items, and each pair of values can be interpolated:
.img{background-image:url(1.gif),url(2.gif),url(3.gif),url(4.gif),url(5.gif),url(6.gif),url(7.gif),url(8.gif),url(9.gif),url(10.gif),url(11.gif),url(12.gif);background-size:10px10px,20px20px,30px30px,40px40px;transition:background-size1sease-in0s;}.img:hover{background-size:25px25px,50px50px,75px75px,100px100px;}
For example, in transitioning four background-sizes, with all the sizes in
both lists listed in pixels, the third background-size from the
pretransitioned state can gradually transition to the third
background-size of the transitioned list. In the preceding example,
background images 1, 6, and 10 will transition from 10px to 25px in height and width when hovered. Similarly, images 3, 7, and 11
will transition from 30px to 75px, and so forth.
Thus, the background-size values
are repeated three times, as if the CSS had been written as:
.img{...background-size:10px10px,20px20px,30px30px,40px40px,10px10px,20px20px,30px30px,40px40px,10px10px,20px20px,30px30px,40px40px;...}.img:hover{background-size:25px25px,50px50px,75px75px,100px100px,25px25px,50px50px,75px75px,100px100px,25px25px,50px50px,75px75px,100px100px;}
If a property doesn’t have enough comma-separated values to match the
number of background images, the list of values is repeated until there are
enough, even when the list in the :hover state doesn’t match the
initial state:
.img:hover{background-size:33px33px,66px66px,99px99px;}
If we transitioned from four background-size declarations in the initial
state to three background-size declarations in the :hover state, all in
pixels, still with 12 background images, the hover and initial state
values are repeated (three and four times respectively) until we have the 12
necessary values, as if the following had been declared:
.img{...background-size:10px10px,20px20px,30px30px,40px40px,10px10px,20px20px,30px30px,40px40px,10px10px,20px20px,30px30px,40px40px;...}.img:hover{background-size:33px33px,66px66px,99px99px,33px33px,66px66px,99px99px,33px33px,66px66px,99px99px,33px33px,66px66px,99px99px;}
If a pair of values cannot be interpolated—for example, if the background-size changes from contain in the default state to cover when hovered—then, according to the
specification, the lists are not interpolatable. However, some browsers
ignore that particular pair of values for the purposes of the transition, but
still animate the interpolatable values.
There are some property values that can animate if the browser can infer
implicit values. For example, for shadows, the browser will
infer an implicit shadow box-shadow: transparent 0 0 0 or
box-shadow: inset transparent 0 0 0, replacing any values not
explicitly included in the pre- or post-transition state. These examples are in the chapter files for this book.
Only the interpolatable values trigger transitionend events.
As noted previously, visibility animates differently than other properties:
if animating or transitioning to or from visible, it is interpolated
as a discrete step. It is always visible during the transition or
animation as long as the timing function output is between 0 and 1. It
will switch at the beginning if the transition is from hidden to
visible. It will switch at the end if the transition is from
visible to hidden. Note that this can be controlled with the step timing
functions.
If you accidentally include a property that can’t be transitioned, fear not. The entire declaration will not fail. The browser will simply not transition the property that is not animatable. Note that the non-animatable property or nonexistent CSS property is not exactly ignored. The browser passes over unrecognized or non-animatable properties, keeping their place in the property list order to ensure that the other comma-separated transition properties described next are not applied on the wrong properties.2
Transitions can only occur on properties that are not currently being impacted by a CSS animation. If the element is being animated, properties may still transition, as long as they are not properties that are currently controlled by the animation. CSS animations are covered in Chapter 18.
Transitions have excellent browser support. All browsers, including Safari, Chrome, Opera, Firefox, Edge, and Internet Explorer (starting with IE10) support CSS transitions.
Transitions are user-interface (UI) enhancements. Lack of full support should not prevent you from including them. If a browser doesn’t support CSS transitions, the changes you are attempting to transition will still be applied: they will just “transition” from the initial state to the end state instantaneously when the style recomputation occurs.
Your users may miss out on an interesting (or possibly annoying) effect, but will not miss out on any content.
As transitions are generally progressive enhancements, there is no need to polyfill for archaic IE browsers. While you could use a JavaScript polyfill for IE9 and earlier, and prefix your transitions for Android 4.3 and earlier, there is likely little need to do so.
When web pages or web applications are printed, the stylesheet for print
media is used. If your style element’s media attribute matches only
screen, the CSS will not impact the printed page at all.
Often, no media attribute is included; it is as if media="all" were
set, which is the default. Depending on the browser, when a transitioned
element is printed, either the interpolating values are ignored, or the
property values in their current state are printed.
You can’t see the element transitioning on a piece of paper, but in some
browsers, like Chrome, if an element transitioned from one state to
another, the current state at the time the print function is called will
be the value on the printed page, if that property is printable. For
example, if a background color changed, neither the pre-transition or the
post-transition background color will be printed, as background colors
are generally not printed. However, if the text color mutated from one
value to another, the current value of color will be what gets printed
on a color printer or PDF.
In other browsers, like Firefox, whether the pre-transition or post-transition value is printed depends on how the transition was initiated. If it initiated with a hover, the non-hovered value will be printed, as you are no longer hovering over the element while you interact with the print dialog. If it transitioned with a class addition, the post-transition value will be printed, even if the transition hasn’t completed. The printing acts as if the transition properties are ignored.
Given that there are separate printstyle sheets or @media rules for print, browsers compute style separately. In the print style, styles don’t change, so there just aren’t any transitions. The printing acts as if the property values changed instantly, instead of transitioning over time.
1 Changing a background image may take longer than 16 milliseconds to decode and repaint to the page. This isn’t a transition; it is just poor performance.
2 This might change. The CSS Working Group is considering making all property values animatable, switching from one value to the next at the midpoint of the timing function if there is no midpoint between the pre and post values.
CSS transitions, covered in the previous chapter, enabled simple animations. With transitions, an element’s properties change from the values set in one rule to the values set in a different rule as the element changes state over time, instead of changing instantly. With CSS transitions, the start and end states of property values are controlled by existing property values, and provide little control over how things change over time.
CSS animations are similar to transitions in that values of CSS properties change over time, but provide much more control over how those changes happen. Specifically, CSS keyframe animations let us decide if and how an animation repeats, give us granular control over what happens throughout the animation, and more. While transitions trigger implicit property values changes, animations are explicitly executed when animation keyframe properties are applied.
With CSS animations, you can change property values that are not part of the set pre- or post-state of an element. The property values set on the animated element don’t necessarily have to be part of the animation progression. For example, with transitions, going from black to white will only animate through various shades of gray. With animation, that same element doesn’t have to be black or white or even in-between shades of gray during the animation.
While you can transition through shades of gray, you could instead turn the element yellow, then animate from yellow to orange. Alternatively, you could animate through various colors, starting with black and ending with white, but progressing through the entire rainbow along the way. This chapter will explore how keyframe animation works.
Look for the Play symbol
to know when an online example is available. All of the examples in this chapter can be found at https://meyerweb.github.io/csstdg4figs/18-animations.
To animate an element, we need to set the name of a keyframe animation; to do
that, we need a named keyframe animation. Our first step is to define
this reusable CSS keyframe animation using the @keyframes at-rule,
giving our animation a name. The name we
define will then be used to attach
this particular animation to elements or pseudo-elements.
A @keyframes at-rule includes the animation identifier, or name, and
one or more keyframe blocks. Each keyframe block includes one or more
keyframe selectors with declaration blocks of property-value pairs.
The entire @keyframes at-rule specifies the behavior of a single
full iteration of the animation. The animation can iterate zero or more
times, depending mainly on the animation-iteration-count property
value, which we’ll discuss in “Declaring Animation Iterations”.
Each keyframe block includes one or more keyframe selectors. The keyframe selectors are percentage-of-time positions along the duration of the animation; they are declared either as percentages, or with the keywords from or to. Here’s the generic structure of an animation:
@keyframesanimation_identifier{keyframe_selector{property:value;property:value;}keyframe_selector{property:value;property:value;}}
and here are a couple of basic examples:
@keyframesfadeout{from{opacity:1;}to{opacity:0;}}@keyframescolor-pop{0%{color:black;background-color:white;}33%{/* one-third of the way through the animation */color:gray;background-color:yellow;}100%{color:white;background-color:orange;}}
The first set of keyframes shown takes an element, sets its opacity to 1 (fully opaque), and animates it to 0 opacity (fully transparent). The second keyframe set sets an element’s foreground to black and its background to white, then animates the foreground black to gray and then white, and the background white to yellow and then orange.
Note that the keyframes don’t say how long this should take—that’s handled by a CSS property dedicated to the purpose. Instead they say “go from this state to that state” or “hit these various states at these percentage points of the total animation.” That’s why keyframe selectors are always percentages, or from and to. If you try to fill time values (like 1.5s) into your keyframe selectors, you’ll render them invalid.
To create an animation, you start with the @keyframes, add an animation name, and drop in curly brackets to encompass the actual keyframes you’re defining. It’s a lot like a media query at this point, if you’re familiar with those (see Chapter 20).
Within the opening and closing curly brackets, you
include a series of keyframe selectors with blocks of CSS that
declare the properties you want to animate. Once the keyframes are defined,
you “attach” the animation to an element using the animation-name property. We’ll discuss that property shortly, in “Naming Animations”.
Start with the at-rule declaration, followed by the animation name and brackets:
@keyframesnameOfAnimation{...}
The name, which you create, is an identifier or a string. Originally, the keyframe names had to be an identifier, but both the specification and the browsers also support quoted strings.
Identifiers are unquoted and have specific rules. You can use any
characters a-z, A-Z, and 0-9, the hyphen (-), underscore (_), and any ISO
10646 character U+00A0 and higher. ISO 10646 is the universal character
set; this means you can use any character in the Unicode standard that
matches the regular expression [-_a-zA-Z0-9\u00A0-\u10FFFF].
The identifier can’t start with
a digit (0-9) or two hyphens. One hyphen is fine, as long as it is
not followed by a digit—unless you escape the digit or hyphen with a backslash.
If you include any escape characters within your animation name, make
sure to escape them with a backslash (\). For example, Q&A! must be
written as Q\&A\!. ✎ can be left as ✎ (no, that’s not a typo),
and ✎ is a valid name as well. But if you’re going to use any
keyboard characters that aren’t letters or digits in an identifier, like
!, @, #, $, and so on, escape them with a backslash.
Also, don’t use any of the keywords covered in this chapter as the name
of your animation. For example, possible values for the various
animation properties we’ll be covering later in the chapter include
none, paused, running, infinite, backwards, and forwards. Using an animation property keyword, while not prohibited
by the spec, will likely break your animation
when using the animation
shorthand property (discussed in “Bringing It All Together”). So, while you can legally name your
animation paused (or another keyword,) I strongly recommend against it.
Keyframe selectors provide points during our animation where we set the
values of the properties we want to animate. In defining animations, we
dictate the values we want properties to have at a specific percentage of
the way through the animations. If you want a value at the start of the
animation, you declare it at the 0% mark. If you want a different value
at the end of the animation, you declare the property value at the 100%
mark. If you want a value a third of the way through the animation, you
declare it at the 33% mark. These marks are defined with keyframe
selectors.
Keyframe selectors consist of a comma-separated list of one or more
percentage values or the keywords from or to. The keyword from is
equal to 0%. The keyword to equals 100%. The keyframe selectors are used to
specify the percentage along the duration of the animation the keyframe
represents. The keyframe itself is specified by the block of property
values declared on the selector. The % unit must be used on percentage
values. In other words, 0 is invalid as a keyframe selector:
@keyframesW{from{left:0;top:0;}25%,75%{top:100%;}50%{top:50%;}to{left:100%;top:0;}}
This @keyframes animation, named W, when attached to a
non-statically positioned element, would move that element along a W-shaped path. W has five keyframes: one each at the 0%, 25%, 50%, 75%, and 100%
marks. The from is the 0% mark. The to is the 100% mark. 
As the property values we set for the 25% and 75% mark are the same,
we can put the two keyframe selectors together as a comma-separated list. This is very similar to regular selectors, where you can comma-group several together. Whether you
keep those selectors on one line (as in the example) or put each selector on its
own line is up to your personal preference. The following is just as valid as what we saw in the previous code:
25%,75%{top:100%;}
Note that selectors do not need to be listed in ascending order. In the preceding example, we have the 25% and 75% on the same line, with the 50% mark coming after that declaration. For legibility, it is highly
encouraged to progress from the 0% to the 100% mark. However, as
demonstrated by the 75% keyframe in this example, it is
not required. You could define your keyframes with the last first and the first last, or scramble them up randomly, or whatever works for you.
If a 0% or from keyframe is not specified, then the user agent
(browser) constructs a 0% keyframe using the original values of the
properties being animated, as if the 0% keyframe were declared with the
same property values that impact the element when no animation was
applied, unless another animation applied to that element is currently animating the same property (see the upcoming section “Naming Animations” for details). Similarly, if the 100% or to keyframe is not defined and no other animations are being applied, the
browser creates a faux 100% keyframe using the value the element would
have had if no animation had been set on it.
Assuming we have a background-color change animation:
@keyframeschange_bgcolor{45%{background-color:green;}55%{background-color:blue;}}
And the element originally had background-color: red set on it, it
would be as if the animation were: 
@keyframeschange_bgcolor{0%{background-color:red;}45%{background-color:green;}55%{background-color:blue;}100%{background-color:red;}}
Or, remembering that we can include multiple identical keyframes as a comma-separated list, this faux animation also could be written as:
@keyframeschange_bgcolor{0%,100%{background-color:red;}45%{background-color:green;}55%{background-color:blue;}}
Note the background-color: red; declarations are not actually part of
the keyframe animation. If the background color were set to yellow in
the element’s default state, the 0% and 100% marks would display a
yellow background, animating into green, then blue, then back to yellow
as the animation progressed:
@keyframeschange_bgcolor{0%,100%{background-color:yellow;}45%{background-color:green;}55%{background-color:blue;}}
We can include this change_bgcolor animation on many elements, and the
perceived animation will differ based on the element’s value for the
background-color property in the non-animated state.
Although we’ve been using exclusively integer values for our percentages, non-integer percentage values, such as 33.33%, are perfectly
valid. Negative percentages, values greater than 100%, and values that aren’t
otherwise percentages or the keywords to or from are invalid and
will be ignored.
In the original -webkit- implementation of animation, each keyframe
could only be declared once: if declared more than once, only the last
declaration would be applied, and the previous keyframe selector block
was ignored. This has been updated. Now, similar to the rest of CSS, the
values in the keyframe declaration blocks with identical keyframe values
cascade. In the standard (nonprefixed) syntax, the preceding W animation
can be written with the to, or 100%, declared twice, overriding the
value of the left property:
@keyframesW{from,to{top:0;left:0;}25%,75%{top:100%;}50%{top:50%;}to{left:100%;}}
Notice how to is declared along with from as
keyframe selectors for the first code block? That sets both top and left for the to keyframe. Then, the left value is
overridden for the to in the last keyframe block.
It’s worth taking a moment to talk about the fact that not all properties are animatable. Within an animation’s keyframe, if you list a property that can’t be animated, it’s just ignored. (For that matter, so are properties and values that he browser doesn’t recognize at all, the same as any other part of CSS.)
There is a comprehensive list of animatable properties in Appendix A. We’ve also indicated whether properties can or can’t be animated throughout the rest of this book, as the properties are defined.
The animation-timing-function, described in greater detail
in “Changing the Internal Timing of Animations”, while not an animatable property, is not ignored. If you include
the animation-timing-function as a keyframe style rule within a
keyframe selector block, the timing function of the
properties within that block will change to the declared timing function
when the animation moves to the next keyframe.
If an animation is set between two property values that don’t have a calculable
midpoint, the results may not be what you expect. The property will not
animate correctly—or at all. For example, you shouldn’t declare an
element’s height to animate between height: auto and
height: 300px. There is no midpoint between auto and 300px. The
element may still animate, but different browsers handle this
differently: Firefox does not animate the element; Safari may animate as
if auto is equal to 0; and both Opera and Chrome currently jump from
the preanimated state to the postanimated state halfway through the
animation, which may or may not be at the 50% keyframe selector,
depending on the value of the animation-timing-function. In other
words, different browsers behave differently for different properties
when there is no midpoint, so you can’t be sure you will get your
expected outcome.
The behavior of your animation will be most predictable if you declare
both a 0% and a 100% value for every property you animate. 
For example, if you declare border-radius: 50%; in your animation, you
may want to declare border-radius: 0; as well, because there is no
midpoint between none and anything: the default value of
border-radius is none, not 0. Consider the difference in the following two animations:
@keyframesround{100%{border-radius:50%;}}@keyframessquare_to_round{0%{border-radius:0%;}100%{border-radius:50%;}}
The round animation will animate an element from the original border-radius value of that element to border-radius: 50% over
the duration of the animation. The square_to_round animation will animate an element from border-radius: 0% to border-radius: 50% over
the duration of the animation. If the element starts out with square corners, then the two will have exactly the same effect. But if it starts out with rounded corners, then square_to_round will jump to rectangular corners before it starts
animating. This might not be what you want. Sometimes you can omit a from or to keyframe, using the element’s non-animated property values to your advantage.
The best way to resolve this
issue is to use the round animation instead of square_to_round, making sure any element that gets animated with the round keyframe
animation has its border-radius explicitly set. 
As long as an animatable property is included in at least one block with a value that is different then the non-animated attribute value, and there is a calculable midpoint between those two values, that property will animate.
Exceptions to the midpoint “rule” include visibility and
animation-timing-function.
visibility is an animatable property, even though there is no midpoint
between visibility: hidden and visibility: visible. When you
animate from hidden to visible, the visibility value jumps from one
value to the next at the keyframe where the change is declared.
While the animation-timing-function is not, in fact, an animatable
property, when included in a keyframe block, the animation timing will switch to
the newly declared value at that point in the animation for the
properties within that keyframe selector block. The change in animation
timing is not animated; it simply switches to the new value for those properties only, and only until the next keyframe. (This will be covered later, in “Changing the Internal Timing of Animations”.)
There is an API that enables finding,
appending, and deleting keyframe rules. You can change the content of a
keyframe block within an @keyframes animation declaration with
appendRule(n) or deleteRule(n), where n is the full selector of that
keyframe. You can return the contents of a keyframe with findRule(n):
@keyframesW{from,to{top:0;left:0;}25%,75%{top:100%;}50%{top:50%;}to{left:100%;}}
The appendRule(), deleteRule(), and findRule() methods takes the full
keyframe selector as an argument. Revisiting the W animation, to return
the 25% / 75% keyframe, the argument is 25%, 75%:
// Get the selector and content block for a keyframevaraRule=myAnimation.findRule('25%, 75%').cssText;// Delete the 50% keyframemyAnimation.deleteRule('50%');// Add a 53% keyframe to the end of the animationmyAnimation.appendRule('53% {top: 50%;}');
The statement myAnimation.findRule('25%, 75%').cssText; where
myAnimation is pointing to a keyframe animation, returns the keyframe
that matches 25%, 75%. It would not match anything if we had used
either 25% or 75% only. If pointing to the W animation, this
statement returns 25%, 75% { top: 100%; }.
Similarly, myAnimation.deleteRule('50%') will delete the last 50%
keyframe—so if there are multiple 50% keyframes, the last one listed will be the first to go.
Conversely, myAnimation.appendRule('53% {top: 50%;}') appends a 53% keyframe
after the last keyframe of the @keyframes block. 
There are three animation events—animationstart, animationend,
and animationiteration—that occur at the start and end
of an animation, and between the end of an iteration and the start of
a subsequent iteration. Any animation for which a valid keyframe rule is
defined will generate the start and end events, even animations with
empty keyframe rules. The animationiteration event only occurs when an
animation has more than one iteration, as the animationiteration event
does not fire if the animationend event would fire at the same time.
Once you have created a keyframe animation, you can apply that animation to elements and/or pseudo-elements. CSS provides numerous animation properties to attach a keyframe animation to an element and control its progression. At a minimum, you need to include the name of the animation for the element to animate, and a duration if you want the animation to actually be visible. (Otherwise, the animation will happen in zero time.)
There are two ways of attaching animation properties to an element: you
can include all the animation properties separately, or you can declare
all the properties in one line using the animation shorthand property (or a combination of shorthand and longhand properties). We are going to first learn all the longhand properties. Later in this
chapter, we’ll condense all the declarations into one line with the
animation shorthand property.
Let’s start with the individual properties.
The animation-name property takes as its value a
comma-separated list of names of keyframe animations you want to
apply. The names in question here are the unquoted identifiers or quoted strings (or a mixture of both) you
created in your @keyframes rule.
The default value is none, which means there is no animation. The
none value can be used to override any animation applied elsewhere in
the CSS cascade. (This is also the reason you don’t want to name your
animation none, unless you’re a masochist.) To apply an animation,
include the @keyframe identifier, which is the animation name. 
Using the change_bgcolor keyframe animation defined in “Omitting from and to Values”:
div{animation-name:change_bgcolor;}
This applies the change_bgcolor animation to all div elements.
To apply more than one animation, include more than one comma-separated
@keyframe identifier:
div{animation-name:change_bgcolor,round,W;}
If one of the included keyframe identifiers does not exist, the series of animations will not fail; rather, the failed animation will be ignored, and the valid animations will be applied. While ignored initially, the failed animation will be applied if and when that identifier comes into existence as a valid animation. Consider:
div{animation-name:change_bgcolor,spin,round,W;}
In this example, assume there is no spin keyframe animation defined. The
spin animation will not be applied, while the change_bgcolor, round,
and W animations will occur. Should a spin keyframe animation come
into existence through scripting, it will be applied at that time. 
In order to include more than one animation, we’ve included each @keyframe
animation identifier in our list of comma-separated values on the
animation-name property. If more than one animation is applied to an
element and those animations have repeated properties, the later animations override
the property values in the earlier animations. For example, if more
than two background color changes are applied concurrently in two
different keyframe animations, whichever animation was listed later will
override the background property declarations of animations earlier in the list, but only
if the properties (background colors, in this case) are being animated at the same time. For more
on this, see “Animation, Specificity, and Precedence Order”. 
For example, assume the following, and further assume that the animations happen over a period of 10 seconds:
div{animation-name:change_bgcolor,bg-shift;}@keyframesbg-shift{0%,100%{background-color:blue;}35%{background-color:orange;}55%{background-color:red;}65%{background-color:purple;}}@keyframeschange_bgcolor{0%,100%{background-color:yellow;}45%{background-color:green;}55%{background-color:blue;}}
In this situation, the background will animate from blue to orange to red to purple and then back to blue, thanks to bg-shift. Because it comes last in the list of animations, its keyframes take precedence. Any time there are multiple animations specifying behavior for the same property at the same point in time, the animation which is listed last in the value of animation-name will be in effect.
What’s interesting is what happens if the from (0%) or to (100%) keyframes are omitted from the animation in force. For example, let’s remove the first keyframes defined in bg-shift.
div{animation-name:change_bgcolor,bg-shift;}@keyframesbg-shift{35%{background-color:orange;}55%{background-color:red;}65%{background-color:purple;}}@keyframeschange_bgcolor{0%,100%{background-color:yellow;}45%{background-color:green;}55%{background-color:blue;}}
Now there are no background colors being defined at the beginning and end of bg-shift. In a situation like this, where a 0% or 100% keyframe is not specified, then the user agent constructs a 0%/100% keyframe using the computed values of the properties being animated. This could mean one of two things: either use the value of the property as defined for the element assuming there are no animations at all, or use the property value from a previous animation in the list given for animation-name.
Older browsers do the former, but the specification is shifting to prefer the latter. As of late 2017, newer browsers will animate from yellow to orange over the first 3.5 seconds of the animation, and from purple to blue over the last 3.5 seconds. Older browsers will start and end with transparent backgrounds.
These are only concerns when two different keyframe blocks are trying to change the same property’s values. In this case, it was background=color. On the other hand, if one keyframe block animates background-color while another animates padding, the two animations will not collide, and both the background color and padding will be animated together.
Simply applying an animation to an element is not enough for the element
to visibly animate, but it will make the animation
occur—just over no time. In such an event, the keyframe properties will all be calculated, and the
animationstart and animationend events will fire. For an element to visibly animate, the animation must last at least some
amount of time. For that we have the animation-duration property.
The animation-duration property defines how long a single animation
iteration should take in seconds (s) or milliseconds (ms).
The animation-duration property is used to define the length of
time, in seconds (s) or milliseconds (ms), it should take to complete
one cycle through all the keyframes of the animation.
If you don’t declare animation-duration, the animation will still
be run with a duration of 0s, with animationstart and
animationend still being fired even though the animation, taking 0s,
is imperceptible. Negative time values are not permitted on this property.
When specifying a duration, you must include the second (s) or
millisecond (ms) unit.
If you have more than one animation, you can include a different
animation-duration for each animation by including more than one
comma-separated time duration:
div{animation-name:change_bgcolor,round,W;animation-duration:200ms,100ms,0.5s;}
If you supply an invalid value within your comma-separated list of
durations—for example, animation-duration: 200ms, 0, 0.5s—the entire
declaration will fail, and it will behave as if animation-duration: 0s
had been declared. 0 is not a valid time value. 
Generally, you will want to include an animation-duration value for
each animation-name provided. If you have only one duration, all the
animations will last the same amount of time. Having fewer
animation-duration values than animation-name values in your
comma-separated property value list will not fail: rather, the values will be repeated as a group. Thus, given the following:
div{animation-name:change_bgcolor,spin,round,W;animation-duration:200ms,5s;/* same effect as '200ms, 5s, 200ms, 5s' */}
the round animation will be run over 200ms, and the W animation over 5s.
If you have a greater number of
animation-duration values than animation-name values, the extra
values will be ignored. If one of the included animations does not
exist, the series of animations and animation durations will not fail:
the failed animation, along with its duration, are ignored:
div{animation-name:change_bgcolor,spinner,round,W;animation-duration:200ms,5s,100ms,0.5s;}
In this example, the duration 5s is associated with spinner.
There is no spinner animation, though, so spinner doesn’t exist, and
the 5s and spinner are both ignored. Should a spinner animation come into existence, it will be applied to the div and last 5 seconds.
Simply including the required animation-name will lead to the animation playing once, and only once. If you want to iterate through the animation more or less than the default one time, use the animation-iteration-count property.
By default, the animation will occur once (because the default value is 1).
If another value is given for animation-iteration-count, and there isn’t a negative
value for the animation-delay property, the animation will repeat the
number of times specified by the value if the property, which can be any
number or the keyword infinite. The following declarations will cause their animations to be repeated 2, 5, and 13 times:
animation-iteration-count:2;animation-iteration-count:5;animation-iteration-count:13;
If the value of animation-iteration-count is not an integer, the animation will end partway
through its final cycle. The animation will still run, but will cut off
mid-iteration on the final iteration. For example,
animation-iteration-count: 1.25 will iterate through the animation one and a quarter
times, cutting off 25% of the way through the second iteration. If the value is 0.25
on an 8-second animation, the animation will play about 25% of the way
through, ending after 2 seconds.
Negative numbers are not permitted. If an invalid value is given, the default value of 1 will lead to a default single iteration. 
Interestingly, 0 is a valid value for the animation-iteration-count
property. When set to 0, the animation still occurs, but zero times. This
is similar to setting animation-duration: 0s: it will throw both an
animationstart and an animationend event.
If you are attaching more than one animation to an element or
pseudo-element, include a comma-separated list of values for
animation-name, animation-duration, and animation-iteration-count:
.flag{animation-name:red,white,blue;animation-duration:2s,4s,6s;animation-iteration-count:3,5;}
The iteration-count values (and all other animation property values)
will be assigned in the order of the comma-separated animation-name
property value. Extra values are ignored. Missing values cause
the existing values to be repeated, as with animation-iteration-count in the above scenario.
In the preceding example, there are more name values than count values, so the
count values will repeat: red and blue will iterate three times, and
white will iterate five times. There are the same number of name values
as duration values; therefore, the duration values will not repeat. The
red animation lasts two seconds, iterating three times, and therefore will run
for a total of six seconds.
The white animation lasts four seconds, iterating five times,
for a total of 20 seconds. The blue animation is six seconds per
iteration with the repeated three iterations value, animating for a total of
18 seconds.
Invalid values will invalidate the entire declaration, leading to the animations to be played once each.
If we want all three animations to end at the same time, even though
their durations differ, we can control that with
animation-iteration-count:
.flag{animation-name:red,white,blue;animation-duration:2s,4s,6s;animation-iteration-count:6,3,2;}
In this example, the red, white, and blue animations will last
for a total of 12 seconds each, because the product of the durations and iteration counts in each case totals 12 seconds.
With the animation-direction property, you can control whether the
animation progresses from the 0% keyframe to the 100% keyframe, or from
the 100% keyframe to the 0% keyframe. You can control whether all the
iterations progress in the same direction, or set every other animation
cycle to progress in the opposite direction.
The animation-direction property defines the direction of the animation’s
progression through the keyframes. There are four possible
values:
animation-direction: normalWhen set to normal (or omitted, which defaults to normal), each
iteration of the animation progresses from the 0% keyframe to the 100%
keyframe.
animation-direction: reverseThe reverse value sets each iteration to play in reverse keyframe
order, always progressing from the 100% keyframe to the 0% keyframe.
Reversing the animation direction also reverses the
animation-timing-function. This property is
described in “Changing the Internal Timing of Animations”.
animation-direction: alternateThe alternate value means the first iteration (and each
subsequent odd-numbered iteration) proceeds from 0% to 100%, and the
second iteration (and each subsequent even-numbered cycle) reverses direction, proceeding from 100% to 0%.
animation-direction: alternate-reverseThe alternate-reverse value is similar to the alternate value,
except it’s the reverse.
The first iteration (and each subsequent odd numbered iteration) proceeds from 100% to 0%, and the second iteration (and each subsequent even-numbered cycle) reverses direction, proceeding from 100% to 0%:
.ball{animation-name:bouncing;animation-duration:400ms;animation-iteration-count:infinite;animation-direction:alternate-reverse;}@keyframesbouncing{from{transform:translateY(500px);}to{transform:translateY(0);}}
In this example, we are bouncing a ball, but we want to start by dropping it, not by throwing it up in the air: we want it to
alternate between going down and up, rather than up and down, so
animation-direction: alternate-reverse is the most appropriate value
for our needs. 
This is a rudimentary way of making a ball bounce. When balls are
bouncing, they are moving slowest when they reach their apex and fastest
when they reach their nadir. We included this example here to illustrate
the alternate-reverse animation directions. We’ll revisit the bouncing
animation again later to make it more realistic with the addition of timing (see “Changing the Internal Timing of Animations”).
We’ll also discuss how, when the animation is iterating in the
reverse direction, the animation-timing-function is reversed.
The animation-delay property defines how long the browser waits after
the animation is attached to the element before beginning the first
animation iteration.
The animation-delay property sets the time, defined in seconds (s) or
milliseconds (ms), that the animation will wait between when the animation is
attached to the element and when the animation begins executing.
By default, the animation begins iterating as soon as it is applied to the
element, with a 0-second delay. A positive value delays the
start of the animation until the prescribed time listed as the value of
the animation-delay property has elapsed. A negative value causes
the animation to begin immediately, but it will start partway through the animation.
Negative values for
animation-delay can create interesting effects. A negative delay will
execute the animation immediately but will begin animating the element
partway through the attached animation. For example, if
animation-delay: -4s and animation-duration: 10s are set on an
element, the animation will begin immediately but will start
approximately 40% of the way through the first animation, and will end six seconds later.
The word “approximately” was used there because the animation will not necessarily start at precisely the 40%
keyframe block: when the 40% mark of an animation occurs depends on the
value of the animation-timing-function. If
animation-timing-function: linear is set, then it will be 40% through
the animation:
div{animation-name:move;animation-duration:10s;animation-delay:-4s;animation-timing-function:linear;}@keyframesmove{from{transform:translateX(0);}to{transform:translateX(1000px);}}
In this linear animation example, we have a 10-second animation
with a delay of –4 seconds. In this case, the animation will start
immediately 40% of the way through the animation, with the div translated
400 pixels to the right of its original position, and last only six seconds. 
If an animation is set to occur 10 times, with a delay of -600 milliseconds and an animation duration of 200 milliseconds, the element will start animating right away, at the beginning of the fourth iteration:
.ball{animation-name:bounce;animation-duration:200ms;animation-delay:-600ms;animation-iteration-count:10;animation-timing-function:ease-in;animation-direction:alternate;}@keyframesbounce{from{transform:translateY(0);}to{transform:translateY(500px);}}
Instead of animating for 2,000 milliseconds (200 ms × 10 = 2,000 ms, or 2 seconds), starting in the normal direction, the ball will animate for 1,400 milliseconds (or 1.4 seconds) with the animation starting immediately—but at the start of the fourth iteration, and in the reverse direction.
It starts out in reverse because
animation-direction is set to alternate, meaning every even iteration
iterates in the reverse direction from the 100% keyframe to the 0% keyframe.
The fourth iteration, which is an even-numbered iteration, is the first
visible iteration. 
The animation will throw the animationstart event immediately. The
animationend event will occur at the 1,400-millisecond mark. The ball will be
tossed up, rather than bounced, throwing 6 animationiteration events,
after 200, 400, 600, 800, 1,000, and 1,200 milliseconds. While the iteration count was
set to 10, we only get 6 animationiteration events because we are only
getting 7 iterations; 3 iterations didn’t occur because of the negative animation-delay, and the last iteration concluded at the same time as the
animationend event. Remember, when an animationiteration event
would occur at the same time as an animationend event, the
animationiteration event does not occur.
Let’s take a deeper look at animation events before continuing.
There are three different types of animation events:
animationstart, animationiteration, and animationend.
Each event has three read-only properties:
animationName, elapsedTime, and pseudoElement, unprefixed in all
browsers.
The animationstart event fires at the start of the animation: after
the animation-delay (if present) has expired, or immediately if there
is no delay set. If a negative animation-delay value is present, the
animationstart will fire immediately, with an elapsedTime equal to
the absolute value of the delay in supporting browsers. In browsers
where prefixing is still necessary, the elapsedTime is 0:
.noAnimationEnd{animation-name:myAnimation;animation-duration:1s;animation-iteration-count:infinite;}.startAndEndSimultaneously{animation-name:myAnimation;animation-duration:0s;animation-iteration-count:infinite;}
The animationend event fires when the animation finishes. If the
animation-iteration-count is set to infinite, then as long as the
animation-duration is set to a time greater than 0, the animationend event will
never fire. If the animation-duration is set or defaults to 0 seconds, even
when the iteration count is infinite, animationstart and
animationend will occur virtually simultaneously, and in that order.
The animationiteration event fires between iterations. The animationend event
fires at the conclusion of iterations that do not occur at the same time as the conclusion of the animation itself; thus, the animationiteration and animationend events do not fire simultaneously:
.noAnimationIteration{animation-name:myAnimation;animation-duration:1s;animation-iteration-count:1;}
In the .noAnimationIteration example, with the
animation-iteration-count set to a single occurrence, the animation
ends at the conclusion of the first and only iteration. Whenever the
animationiteration event would occur at the same time as an animationend event, the animationend event occurs, but
the animationiteration event does not. The animationiteration does
not fire unless an animation cycle ends and another begins.
When the animation-iteration-count property is omitted, or when its
value is 1 or less, no animationiteration event will be fired. As long
as an iteration finishes (even if it’s a partial iteration) and another
iteration begins, if the duration of that subsequent iteration is greater than 0s, an
animationiteration event will be fired:
.noAnimationIteration{animation-name:myAnimation;animation-duration:1s;animation-iteration-count:4;animation-delay:-3s;}
When an animation iterates through fewer cycles than listed in the
animation-iteration-count because of a negative animation-delay, there
are no animationiteration events for the cycles that didn’t occur. In the
preceding example code, there are no animationiteration events, as the first
three cycles do not occur (due to the -3s animation-delay), and the last
cycle finishes at the same time the animation ends. 
In that example, the elapsedTime on the animationstart event is
3, as it is equal to the absolute value of the delay.
You can use animation-delay to chain animations together so the next
animation starts immediately after the conclusion of the preceding
animation:
.rainbow{animation-name:red,orange,yellow,blue,green;animation-duration:1s,3s,5s,7s,11s;animation-delay:3s,4s,7s,12s,19s;}
In this example, the red animation starts after a three-second delay and lasts
one second, meaning the animationend event occurs at the four-second mark. This
example starts each subsequent animation at the conclusion of the
previous animation. This is known as CSS animation chaining. 
By including a four-second delay on the second animation, the orange animation
will begin interpolating the @keyframe property values at the four-second mark,
starting the orange animation immediately at the conclusion of the
red animation. The orange animation concludes at the seven-second mark—it
lasts three seconds, starting after a four-second delay—which is the delay set on the
third, or yellow, animation, making the yellow animation begin
immediately after the orange animation ends.
This is an example of chaining animations on a single element. You can
also use the animation-delay property to chain the animations for
different elements:
li:first-of-type{animation-name:red;animation-duration:1s;animation-delay:3s;}li:nth-of-type(2){animation-name:orange;animation-duration:3s;animation-delay:4s;}li:nth-of-type(3){animation-name:yellow;animation-duration:5s;animation-delay:7s;}li:nth-of-type(4){animation-name:green;animation-duration:7s;animation-delay:12s;}li:nth-of-type(5){animation-name:blue;animation-duration:11s;animation-delay:19s;}
If you want a group of list items to animate in order,
appearing as if
the animations were chained in sequence, the animation-delay of each
list item should be the combined time of the animation-duration and
animation-delay of the previous animation.
While you can use JavaScript and the animationEnd event from one animation to determine when to attach a subsequent animation, which we discuss below, the animation-delay property is an appropriate method of using CSS
animation properties to chain animations. There is one caveat: animations are the lowest priority on the UI thread. Therefore, if you
have a script running that is occupying the user interface (or UI)
thread, depending on the browser and which properties are being animated
and what property values are set on the element, the browser may let the delays expire while waiting
until the UI thread is available before starting more animations.
If you are able to rely on JavaScript, another way of chaining
animations is listening for animationend events to start subsequent
animations: 
<script>document.querySelectorAll('li')[0].addEventListener('animationend',function(e){document.querySelectorAll('li')[1].style.animationName='orange';},false);document.querySelectorAll('li')[1].addEventListener('animationend',function(e){document.querySelectorAll('li')[2].style.animationName='yellow';},false);document.querySelectorAll('li')[2].addEventListener('animationend',function(e){document.querySelectorAll('li')[3].style.animationName='green';},false);document.querySelectorAll('li')[3].addEventListener('animationend',function(e){document.querySelectorAll('li')[4].style.animationName='blue';},false);</script><style>li:first-of-type{animation-name:red;animation-duration:1s;}li:nth-of-type(2){animation-duration:3s;}li:nth-of-type(3){animation-duration:5s;}li:nth-of-type(4){animation-duration:7s;}li:nth-of-type(5){animation-duration:11s;}</style>
In this example, there is an event handler on each of the first four list
items, listening for that list item’s animationend event. When the
animationend event occurs, the event listeners add an animation-name
to the subsequent list item.
As you can see in the styles, this animation chaining method doesn’t employ animation-delay at all. Instead, the JavaScript event listeners
attach animations to each element by setting the animation-name
property when the animationend event is thrown.
You’ll also note that the animation-name was only included
for the first list item. The other list items only have an animation-duration with no animation-name, and therefore no attached
animations. Adding animation-name is what attaches and starts the
animation. To start or restart an animation, the animation name
must be removed and then added back—at which point all the
animation properties take effect, including animation-delay.
Instead of writing:
<script>document.querySelectorAll('li')[2].addEventListener('animationend',function(e){document.querySelectorAll('li')[3].style.animationName='green';},false);document.querySelectorAll('li')[3].addEventListener('animationend',function(e){document.querySelectorAll('li')[4].style.animationName='blue';},false);</script<style>li:nth-of-type(4){animation-duration:7s;}li:nth-of-type(5){animation-duration:11s;}</style>
we could have written:
<script>document.querySelectorAll('li')[2].addEventListener('animationend',function(e){document.querySelectorAll('li')[3].style.animationName='green';document.querySelectorAll('li')[4].style.animationName='blue';},false);</script><style>li:nth-of-type(4){animation-duration:7s;}li:nth-of-type(5){animation-delay:7s;animation-duration:11s;}</style>
When the blue animation name is added to the fifth list item at the same time we added green, the delay on the fifth
element takes effect at that point in time and starts expiring.
While changing the values of animation properties (other than name) on the element during an animation has no effect on the animation,
removing or adding an animation-name does have an impact. You can’t
change the animation duration from 100ms to 400ms in the middle of an
animation. You can’t switch the delay from -200ms to 5s once the delay
has already been applied. You can, however, stop and start the animation
by removing it and reapplying it. In this JavaScript example, we
started the animations by applying them to the elements.
In addition, setting display: none on an element terminates any
animation. Updating the display back to a visible value restarts the
animation from the beginning. If there is a positive value for
animation-delay, the delay will have to expire before the
animationstart event happens and any animations occur. If the delay is
negative, the animation will start midway through an iteration, exactly as
it would have if the animation had been applied any other way.
While there is no such property as an animation-iteration-delay, you
can employ the animation-delay property, incorporate delays within
your keyframe declaration, or use JavaScript to fake it. The best method
for faking it depends on the number of iterations, performance, and
whether the delays are all equal in length.
What is an animation iteration delay? Sometimes you want an animation to occur multiple times, but want to wait a specific amount of time between each iteration.
Let’s say you want your element to grow three times, but want to wait four seconds between each one-second iteration. You can include the delay within your keyframe definition and iterate through it three times:
.animate3times{background-color:red;animation:color_and_scale_after_delay;animation-iteration-count:3;animation-duration:5s;}@keyframescolor_and_scale_after_delay{80%{transform:scale(1);background-color:red;}80.1%{background-color:green;transform:scale(0.5);}100%{background-color:yellow;transform:scale(1.5);}}
Note the first keyframe selector is at the 80% mark and matches the
default state.
This will animate your element three times: it stays in the default state for 80% of the five-second animation (or four seconds) and then moves from green to yellow and small to big over the last one second of the animation before iterating again, stopping after three iterations.
This method works for any number of iterations of the animation.
Unfortunately, it is only a good solution if the delay between
each iteration is identical and you don’t want to reuse the animation
with any other timing, such as a delay of six seconds.
If you want
to change the delay between each iteration while not changing the
duration of the change in size and color, you have to write a new
@keyframes definition.
To enable different iteration delays between animations, we could create a single animation and bake in the effect of three different delays:
.animate3times{background-color:red;animation:color_and_scale_3_times;animation-iteration-count:1;animation-duration:15s;}@keyframescolor_and_scale_3_times{0%,13.32%,20.01%,40%,46.67%,93.32%{transform:scale(1);background-color:red;}13.33%,40.01%,93.33%{background-color:green;transform:scale(0.5);}20%,46.66%,100%{background-color:yellow;transform:scale(1.5);}}
This method may be more difficult to code and maintain.
It works for a
single cycle of the animation. To change the number of animations or the
iteration delay durations, another @keyframes declaration would be
required. This example is even less robust than the previous one, but it
does allow for different between-iteration delays.
There’s a solution that works in most browsers that is now
specifically allowed in the animation specification: declare an animation multiple times, each
with a different animation-delay value: 
.animate3times{animation:color_and_scale,color_and_scale,color_and_scale;animation-delay:0,4s,10s;animation-duration:1s;}@keyframescolor_and_scale{0%{background-color:green;transform:scale(0.5);}100%{background-color:yellow;transform:scale(1.5);}}
Here, we’ve attached the animation three times, each with a different delay. In this case, each animation iteration concludes before the next one proceeds.
If animations overlap while they’re concurrently animating, the values
will be the values from the last declared animation. As is true whenever
there are multiple animations changing an element’s property at the
same time, the animation that occurs last in the sequence of animation
names will override any animations occurring before it in the list of
names. In declaring three color_and_scale animations but at different
intervals, the value of the property of the last iteration of the
color_and_scale animation will override the values of the previous
ones that haven’t yet concluded. 
The safest, most robust and most cross-browser-friendly method of faking
an animation-iteration-delay property is to use animation events. On
animationend, detach the animation from the element, then reattach it after
the iteration delay. If all the iteration delays are the same, you can
use setInterval; if they vary, use setTimeout:
variteration=0;varel=document.getElementById('myElement');el.addEventListener('animationend',function(e){vartime=++iteration*1000;el.classList.remove('animationClass');setTimeout(function(){el.classList.add('animationClass');},time);});
This example animates
myElement infinitely, adding an additional second between each iteration
of the animation. 
All right! The scripting was fun, but let’s get back to straight CSS and talk about timing functions.
Similar to the transition-timing-function property, the
animation-timing-function property describes how the animation will
progress over one cycle of its duration, or iteration.
Other than the step
timing functions, described in “Step timing functions”, the timing functions are all Bézier
curves. Just like the transition-timing-function, the CSS specification provides for five predefined Bézier curve
keywords, as shown in Figure 18-1 and Table 18-1.
| Timing function | Cubic Bézier value |
|---|---|
|
|
|
|
|
|
|
|
|
|
A handy tool to visualize Bézier curves and to create your own is Lea Verou’s cubic Bézier visualizer at cubic-bezier.com.
The default ease has a slow start, then speeds up, and ends slowly.
This function is similar to ease-in-out, which has a greater acceleration at the beginning.
linear, as the name describes, creates an animation that animates at a constant speed.
ease-in creates an animation that is slow to start, gains speed, and then stops abruptly.
The opposite ease-out timing function starts at full speed, then slows
progressively as it reaches the conclusion of the animation iteration.
If none of these work for you, you can create your own Bézier curve timing function by passing four values, such as:
animation-timing-function:cubic-bezier(0.2,0.4,0.6,0.8);
Bézier curves are mathematically defined parametric curves used in two-dimensional graphic applications. See Appendix A for examples of curves you can define yourself in CSS.
The Bézier curve takes four values, defining the originating position of the two handles. In CSS, the anchors are at 0, 0 and 1, 1. The first two values define the x and y of the first point or handle of the curve, and the last two are the x and y of the second handle of the curve. The x values must be between 0 and 1, or the Bézier curve is invalid. The y coordinate is not constrained. When creating your own Bézier curve, remember: the steeper the curve, the faster the motion. The flatter the curve, the slower the motion.1
While the x values must be between 0 and 1, by using values for y that are greater than 1 or less than 0, you can create a bouncing effect, making the animation bounce up and down between values, rather than going consistently in a single direction. Consider the following timing function, whose rather outlandish Bézier curve is (partly) illustrated in Figure 18-2:
.snake{animation-name:shrink;animation-duration:10s;animation-timing-function:cubic-bezier(0,4,1,-4);animation-fill-mode:both;}@keyframesshrink{0%{width:500px;}100%{width:100px;}}
This animation-timing-function curve makes the animated property’s values go
outside the boundaries of the values set in the 0% and 100%
keyframes. In this example, we are shrinking an element from 500px to
100px. However, because of the cubic-bezier values, the element
we’re shrinking will actually grow to be wider than the 500px width
defined in the 0% keyframe and narrower than the 100px width
defined in the 100% keyframe, as shown in Figure 18-3.
In this scenario, the element starts with a width of 500px, defined in the 0%
keyframe. It then quickly shrinks down to a width of about 40px, which
is narrower than width: 100px defined in the 100%
keyframe. From there, it slowly expands to about 750px wide, which is larger
than the original width of 500px. It then quickly shrinks back down to
width: 100px, ending the animation iteration.

You may have realized that the curve created by our animation is the same
curve as the Bézier curve. Just as the S-curve goes outside the normal bounding box, the width
of the animated element goes narrower than the smaller width we set of 100px,
and wider than the larger width we set of 500px.
The Bézier curve has the appearance of a snake because one y coordinate is positive, and the other negative. If both are positive values greater than 1 or both are negative values less than -1, the Bézier curve is arc-shaped, going above or below one of the values set, but not bouncing out of bounds on both ends like the S-curve.
Any timing function declared with animation-timing-function sets the
timing for the normal animation direction, when the animation is
progressing from the 0% keyframe to the 100% keyframe.
When the animation is running
in the reverse direction, from the 100% keyframe to the 0% keyframe, the
animation timing function is reversed.
Remember the bouncing-ball example? The bouncing wasn’t very realistic, because the original example defaulted to ease for its timing function.
With animation-timing-function, we can apply ease-in to the animation so that when the ball is dropping, it gets faster as it nears
its nadir at the 100% keyframe.
When it is bouncing upward, it animates in the reverse
direction, from 100% to 0%, so the animating-timing-function is
reversed as well—in this case to ease-out—slowing down as it reaches the apex:

.ball{animation-name:bounce;animation-duration:1s;animation-iteration-count:infinite;animation-timing-function:ease-in;animation-direction:alternate;}@keyframesbounce{0%{transform:translateY(0);}100%{transform:translateY(500px);}}
The step timing functions, step-start, step-end, and steps(),
aren’t Bézier curves. They’re not really curves at all. Rather, they’re tweening definitions. The steps() function is most useful when it comes to character or sprite animation.
The steps() timing function divides the animation into a series of
equal-length steps. steps() takes two parameters: the number of steps,
and the change point (more on that in a moment).
The number of steps is the first parameter; its value must be a positive integer. The animation length will be divided equally into the number of steps provided. For example, if the animation duration is 1 second and the number of steps is 5, the animation will be divided into five 200-millisecond steps, with the element being redrawn to the page five times, at 200-millisecond intervals, moving 20% through the animation at each interval.
To understand how this works, think of a flip book.
Each page in a flip book contains a single drawing or picture that changes
slightly from one page to the next, like one frame from a movie reel stamped onto each page. When the pages of a flip book are
rapidly flipped through (hence the name), the pictures appear as an
animated motion. You can create similar animations with CSS using an
image sprite, the background-position property, and the steps()
timing function.
Figure 18-4 shows an image sprite containing several images that change just slightly, like the drawings on the individual pages of a flip book.
We put all of our slightly differing images into a single image called a sprite. Each image in our sprite is a frame in the single animated image we’re creating.
We then create a container element that is the size of a single image of our
sprite, and attach the sprite as the container element’s background image. We then animate the background-position, using the steps()
timing function so we only see a single instance of the changing image
of our sprite at a time. The number of steps in our steps() timing
function is the number of occurrences of the image in our sprite. The
number of steps defines how many stops our background image makes to
complete a single animation.
The sprite in Figure 18-4 has 22 images, each 56 × 100 pixels. The total size of our
sprite is 1,232 × 100 pixels. We set our container to the individual image
size: 56 × 100 pixels. We set our sprite as our background image: the
initial or default value of background-position is top left, which
is the same as 0 0. Our image will appear at 0 0, which is a good
default: older browsers that don’t support CSS animation will simply
display the first image from our sprite:
.dancer{height:100px;width:56px;background-image:url(../images/dancer.png);....}
The trick is to use steps() to change the background-position value
so that each frame is a view of a separate image within the sprite.
Instead of sliding in the background image from the left, the steps()
timing function will pop in the background image in the number of steps
we declared.
So we create an animation that simple changes the left-right value
of the background-position. The image is 1,232 pixels wide, so we move
the background image from 0 0, which is the left top, to
0 -1232px, putting the sprite fully outside of our 56 × 100 pixel
div viewport.
The values of -1232px 0 will move the image completely to the left,
outside of our containing block viewport. It will no longer show up as a
background image in our 100 × 56 pixel div at the 100% mark unless
background-repeat is set to repeat along the x-axis. We don’t want that to happen!
This is what we want:
@keyframesdance_in_place{from{background-position:00;}to{background-position:-1232px0;}}.dancer{....background-image:url(../images/dancer.png);animation-name:dance_in_place;animation-duration:4s;animation-timing-function:steps(22,end);animation-iteration-count:infinite;}
What may have seemed like a
complex animation is very simple: just like a flip book, we see one
frame of the sprite at a time. Our keyframe animation simply moves the
background. 
So that covers the first parameter, the number of steps.
The second parameter takes one of two values: either start or
end. What this specifies whether the change for the first step’s interval takes place at the beginning of that interval, or at the end of the interval.
With the default value, end, the change take place at the end of the first step. In other words, given 200 ms step lengths, the first change in the animation will not occur until 200 ms into the animation’s overall duration. With start, the first change will take place at the beginning of the first step’s interval; that is to say, the instant the animation begins. Figure 18-5 provides a timeline diagram of how the two values work, based on the following styles:
@keyframesgrayfade{from{background-color:#BBB;}to{background-color:#333;}}.quickfader{animation:grayfade1ssteps(5,start)forwards;}.slowfader{animation:grayfade1ssteps(5,end)forwards;}
The boxes embedded into each timeline represent the background color during that step interval. Notice that in the end timeline, the first interval is the same as the background before the animation started. This is because the animation waits until the end of the first frame to make the color change for the first step (the color between “Step 1” and “Step 2”).
In the start timeline, on the other hand, the first interval makes that color change at the start of the interval, instantly switching from the starting background color to the color between “Step 1” and “Step 2”. This is sort of like jumping ahead one interval, an impression reinforced by the fact that the background color in “Step 2” of the end timeline is the same as that in “Step 1” of the start timeline.
A similar effect can be seen at the end of each animation, where the background in the fifth step of the start timeline is the same as the ending background color. In the end timeline, it’s the color at the point between “Step 4” and “Step 5”, and doesn’t switch to the ending background color until the end of “Step 5,” when the animation is finished.
The change parameter can be hard to keep straight. If it helps, think of it
this way: in a normal animation direction, the start value “skips” the 0% keyframe, because it makes the first change as soon as the animation starts, and the end value
“skips” the 100% keyframe.
Preserving the ending background color in this case, rather than having it reset to the starting color after the animation finishes, required the presences of the forwards keyword. We’ll cover that in “Animation Fill Modes”, later in the chapter.
The step-start value is equal to steps(1, start), with only a single
step displaying the 100% keyframe. The step-end value is equal to
steps(1, end), which displays only the 0% keyframe.
Let’s go back to the sprite animation, which shows our tiny dancer dancing in place. Most dancers move around when they dance. We can add a little left-and-right and back-and-forth motion by adding a second animation:
@keyframesmove_around{0%,100%{transform:translate(0,-40px)scale(0.9);}25%{transform:translate(40px,0)scale(1);}50%{transform:translate(0,40px)scale(1.1);}75%{transform:translate(-40px,0)scale(1);}}
Here, we create a second keyframe animation called move_around and attach
it to our dancer element as a second animation with comma-separated
animation property declarations: 
.dancer{....background-image:url(../images/dancer.png);animation-name:dance_in_place,move_around;animation-duration:4s,16s;animation-timing-function:steps(22,end),steps(5,end);animation-iteration-count:infinite;}
Note that each animation property has two comma-separated values except
animation-iteration-count. If you recall, if an animation property
doesn’t have enough comma-separated values to match the number of
animations declared by the animation-name property, the values present
will be repeated until there are enough. We want both animations to
continue indefinitely. As the value of infinite is for all the
attached animations, we only need a single value for that property. The
browser will repeat the list of animation-iteration-count values—in
this case, just the single value of infinite—until it has matched
an animation-iteration-count value for each animation declared.
The animation-timing-function is not an animatable property, but it
can be included in keyframes to alter the current timing of the
animation.
Unlike animatable
properties, the animation-timing-function values aren’t interpolated
over time. When included in a keyframe within the @keyframes definition,
the timing function for the properties declared within that same keyframe will change to the new animation-timing-function
value when that keyframe is reached, as shown in Figure 18-6:
@keyframeswidth{0%{width:200px;animation-timing-function:linear;}50%{width:350px;animation-timing-function:ease-in;}100%{width:500px;}}
In the preceding example, as shown in Figure 18-6, halfway through the animation, we
switch from a linear animation progression for the width property to
one that eases in. The ease-in timing starts from the keyframe in which the timing function changes. 
Specifying the animation-timing-function within the to or 100%
keyframe will have no effect on the animation. When included in any other keyframe, the animation will follow the
animation-timing-function specified in that keyframe definition until it reaches the next keyframe,
overriding the element’s default or declared animation-timing-function.
If the animation-timing-function property is included in a keyframe,
only the properties also included in that keyframe block will have their
timing function impacted. The new timing function will be in play on that property until the next keyframe containing that property is reached, at which point it will change to the timing function declared within that block, or revert back to the original timing function assigned to that element. If we take our W animation as an example:
@keyframesW{from{left:0;top:0;}25%,75%{top:100%;}50%{top:50%;}to{left:100%;top:0;}}
This follows the idea that conceptually, when an animation is set on an
element or pseudo-element, it is as if a set of keyframes is created for
each property that is present in any of the keyframes, as if an
animation is run independently for each property that is being animated.
It’s as if the W animation were made up of two animations that run
simultaneously—W_part1 and W_part2:
@keyframesW_part1{from,to{top:0;}25%,75%{top:100%;}50%{top:50%;}}@keyframesW_part2{from{left:0;}to{left:100%;}}
The animation-timing-function that is set on any of the keyframes is
added to the progression of only the properties that are defined at that
keyframe:
@keyframesW{from{left:0;top:0;}25%,75%{top:100%;}50%{animation-timing-function:ease-in;top:50%;}to{left:100%;top:0;}}
The preceding code will change the
animation-timing-function to ease-in for the top property only, not the left property,
impacting only the W_part1 section of our W animation, and only from the middle of the animation to the 75% mark.
However, with the following animation, the animation-timing-function will have no effect, because it’s been placed in a
keyframe block that has no property/value declarations:
@keyframesW{from{left:0;top:0;}25%,75%{top:100%;}50%{animation-timing-function:ease-in;}50%{top:50%;}to{left:100%;top:0;}}
How is it useful to change the timing function mid-animation? In the
bounce animation, we had a frictionless environment: the ball
bounced forever, never losing momentum. The ball sped up as it
dropped and slowed as it rose, because the timing function was
inverted from ease-in to ease-out by default as the animation
proceeded from the normal to reverse direction every other iteration.
In reality, friction exists; momentum is lost. Balls will not continue
to bounce indefinitely. If we want our bouncing ball to look natural, we
have to make it bounce less high as it loses energy with each impact. To
do this, we need a single animation that bounces multiple times, losing
momentum on each bounce, while switching between ease-in and ease-out at each
apex and nadir:
@keyframesbounce{0%{transform:translateY(0);animation-timing-function:ease-in;}30%{transform:translateY(100px);animation-timing-function:ease-in;}58%{transform:translateY(200px);animation-timing-function:ease-in;}80%{transform:translateY(300px);animation-timing-function:ease-in;}95%{transform:translateY(360px);animation-timing-function:ease-in;}15%,45%,71%,89%,100%{transform:translateY(380px);animation-timing-function:ease-out;}}
This animation loses height after a few bounces, eventually stopping. 
Since this new animation uses a single iteration, we can’t rely on the
animation-direction to change our timing function. We need to
ensure that while each bounce causes the ball to lose momentum, it still
speeds up with gravity and slows down as it reaches its apex. Because
we will have only a single iteration, we control the timing by including
animation-timing-function within our keyframes. At every apex, we
switch to ease-in, and at every nadir, or bounce, we switch to
ease-out.
If you need to pause and resume animations,
the animation-play-state property defines whether the animation is
running or paused.
When set to the default running, the animation proceeds as normal. If
set to paused, the animation will be paused. When paused, the
animation is still applied to the element, halted at the progress it had
made before being paused. If stopped mid iteration, the properties that were in the process of animating stay at their mid-iteration values. When set back to running or returned to the
default of running, it restarts from where it left off, as if the
“clock” that controls the animation had stopped and started again.
If the property is set to animation-play-state: paused during the
delay phase of the animation, the delay clock is also paused and resumes
expiring as soon as animation-play-state is set back to running. 
The animation-fill-mode property enables us to define whether or not
an element’s property values continue to be applied by the animation outside of the animation execution.
This property is useful because by default, the changes in an animation only apply during the animation itself. Once the animation is done, the values will all revert to their pre-animation values. Thus, if you animate the background from red to blue, the background will (by default) revert to red once the animation finishes.
Similarly, an animation will not affect the property values of the
element immediately if there is a positive animation-delay applied.
Rather, animation property values are applied when the animation-delay
expires, when the animationstart event is fired.
With animation-fill-mode, we can define how the animation impacts the
element on which it is set before the animationstart and after the
animationend events are fired. Property values
set in the 0% keyframe can be applied to the element during the expiration
of any animation delay, and property values can continue to persist after the
animationend event is fired.
The default value for animation-fill-mode is none, which means the animation has no effect
when it is not executing: the animation’s 0% keyframe (or the 100% keyframe in a reverse animation) block property
values are not applied to the animated element until the
animation-delay has expired, when the animationstart event is fired.
When the value is set to backwards, the property values from the 0%
or from keyframe (if there is one) will be applied to the element as
soon as the animation is applied to the element. The 0% keyframe
property values are applied immediately (or 100% keyframe, if the value of the animation-direction property is
reversed or reversed-alternate), without waiting for the animation-delay time to expire.
The value of forwards means when the animation is done executing—that is, has concluded the last part of the last iteration as defined by the
animation-iteration-count value, and the animationend event has fired—it continues to apply the values of
the properties as they were when the animationend event
occurred. If the iteration-count has an integer value, this will be
either the 100% keyframe, or, if the last iteration was in the reverse
direction, the 0% keyframe.
The value of both applies both the backwards effect of applying the
property values as soon as the animation is attached to the element, and the
forwards value of persisting the property values past the
animationend event. 
If the animation-iteration-count is a float value, and not an integer,
the last iteration will not end on the 0% or 100% keyframe: the
animation will instead end its execution partway through an animation cycle. If
the animation-fill-mode is set forwards or both, the element
maintains the property values it had when the animationend event
occurred. For example, if the animation-iteration-count is 6.5, and
the animation-timing-function is linear, the animationend event fires
and the values of the properties at the 50% mark (whether or not a 50%
keyframe is explicitly declared) will stick, as if the
animation-play-state had been set to pause at that point.
For example, if we take the following code:
@keyframesmove_me{0%{transform:translateX(0);}100%{transform:translateX(1000px);}}.moved{transform:translateX(0);animation-name:move_me;animation-duration:10s;animation-timing-function:linear;animation-iteration-count:0.6;animation-fill-mode:forwards;}
The animation will only go through 0.6 iterations. Being a linear 10-second
animation, it will stop at the 60% mark, 6 seconds into the animation,
when the element is translated 600 pixels to the right. With
animation-fill-mode set to forwards or both, the animation will
stop animating when it is translated 600 pixels to the right, holding the
moved element 600 pixels to the right of its original position. This will keep it translated indefinitely, or at least until the animation is detached from the element. Without the animation-fill-mode: forwards, the element with class moved will pop back to it’s original transform: translateX(0), as defined in the moved selector code block.
In Safari 9 and earlier, forwards and both will set the values from
the 100% keyframe onto the element, no matter the direction of the last
iteration or whether the animation otherwise ended on the 100% keyframe
or elsewhere in the animation.
In the preceding example, in Safari 9, the
.moved element jumps from being translated by 400 pixels to the right
to be 1,000 pixels to the right of where it normally would have been, and stays
there. In Safari 9 and earlier, it doesn’t matter whether the last iteration was
normal or reverse, or whether the animation ended 25% or 75% of the
way through an animation cycle; animation-fill-mode: forwards causes
the animation to jump to the 100% frame and stay there. This follows an
older version of the specification, but we expect it will be updated to
match the updated specification and all other evergreen browsers.
The animation shorthand property allows you to use one line, instead of
eight, to define all the animation parameters for an element. The
animation property value is a list of space-separated values for the
various longhand animation properties. If you are setting multiple
animations on an element or pseudo-element, you can use a comma-separated list of animations.
The animation shorthand takes as its value all the other preceding animation
properties, including animation-duration,
animation-timing-function, animation-delay,
animation-iteration-count, animation-direction,
animation-fill-mode, animation-play-state, and animation-name. For example, the following two rules are precisely equivalent:
#animated{animation:200msease-in50ms1normalrunningforwardsslidedown;}#animated{animation-name:slidedown;animation-duration:200ms;animation-timing-function:ease-in;animation-delay:50ms;animation-iteration-count:1;animation-fill-mode:forwards;animation-direction:normal;animation-play-state:running;}
We didn’t have to declare all of the values in the animation shorthand; any values that aren’t declared are set to the default or initial values. The first shorthand line was long and three of the properties were set to default, so were not necessary.
It’s important to remember that if you don’t declare all eight values in your shorthand declaration, the ones you don’t declare will get the initial value for that property. The initial or default values are:
animation-name:none;animation-duration:0s;animation-timing-function:ease;animation-delay:0;animation-iteration-count:1;animation-fill-mode:none;animation-direction:normal;animation-play-state:running;
The order of the shorthand is important in two very specific ways. First, there are two time properties permitted, for <animation-duration> and <animation-delay>. When two are listed, the first is always the duration. The second, if present, is interpreted as the delay.
Second, the placement of the animation-name is also important. If you use
an animation property value as your animation identifier—which you
shouldn’t, but say that you do—then
the animation-name should be placed as the last property
value in the animation shorthand. The first occurrence of a keyword
that is a valid value for any of the other animation properties, such as
ease or running, is assumed to be part of the shorthand of the
animation property the keyword is associated with, rather than the
animation-name. Note that none is basically the only word that is
not a valid animation name:
#failedAnimation{animation:paused2s;}
This is the equivalent to:
#failedAnimation{animation-name:none;animation-duration:2s;animation-delay:0;animation-timing-function:ease;animation-iteration-count:1;animation-fill-mode:none;animation-direction:normal;animation-play-state:paused;}
paused is a valid animation name. While it may seem that the animation
named paused with a duration of 2s is being attached to the element,
that is not what is happening in the above shorthand. Because words within the shorthand
animation are first checked against possible valid values of all
animation properties other than animation-name first, paused is
being set as the value of the animation-play-state property:
#anotherFailedAnimation{animation:running2sease-in-outforwards;}
The preceding code snippet is the equivalent to:
#anotherFailedAnimation{animation-name:none;animation-duration:2s;animation-delay:0s;animation-timing-function:ease-in-out;animation-iteration-count:1;animation-fill-mode:forwards;animation-direction:normal;animation-play-state:running;}
The developer probably has a keyframe animation called running. The
browser, however, sees the term and assigns it to the
animation-play-state property rather than the animation-name
property. With no animation-name declared, there is no animation
attached to the element. The way to get around this would be:
#aSuccessfulIfInadvisableAnimation{animation:running2sease-in-outforwardsrunning;}
This will apply the first running to animation-play-state, and the second running to animation-name. Again: this is not advised. The potential for confusion and error is too great.
In light of all this, animation: 2s 3s 4s; may seem valid, as if the
following were being set:
#invalidName{animation-name:4s;animation-duration:2s;animation-delay:3s;}
But as was mentioned in “Setting Up Keyframe Animations”, 4s is not a
valid identifier. Identifiers cannot start with a digit unless escaped.
For this animation to be valid, it would have to be written as
animation: 2s 3s \4s;
To attach multiple animations to a single element or pseudo-element, comma-separate the animations:
.snowflake{animation:3sease-in200ms32forwardsfalling,1.5slinear200ms64spinning;}
The snowflake will fall while spinning for 96 seconds, spinning twice
during each 3-second fall.
At the end of the last animation cycle, the
snowflake will stay fixed on the 100% keyframe of the falling animation. We declared six of the eight animation properties for
the falling animation and five for the spinning animation, separating the
two animations with a comma.
While you’ll most often see the animation name as the first value—it’s easier to read that way, because of the issue with animation property keywords being valid keyframe identifiers—it is not a best practice. That is why we put the animation name at the end.
To sum up: it is a fine idea to use the animation shorthand. Just
remember that the placements of the duration, delay, and name within that
shorthand are important, and omitted values will be set to their default
values. Also, it is a good idea to not use any animation keywords as
your identifier.
In terms of specificity, the cascade, and which property values get applied to an element, animations (as of late 2017) incorrectly supersede all other values in the cascade.
In general, the weight of a property attached with an ID selector 1-0-0
should take precedence over a property applied by an element selector
0-0-1. However, if that property value was changed via a keyframe
animation, it will be applied as if that property/value pair were added
as an inline style.
The current behavior in all browsers that support
animation is as if the property values set by keyframes
were declared inline with an
added !important—as if they were something like <div style="keyframe-property: value !important">. This is wrong, according to the specifications. The
animation specification states “animations override all normal rules,
but are overridden by !important rules.” This is a bug in the late 2017
implementations and should be resolved eventually. Or, perhaps, the specification will change.
That being said, don’t include !important within your animation
declaration block; this use is invalid, and
the property/value combination upon which it is declared will be ignored.
If there are multiple animations specifying values for the same property, the property value from the last animation applied will override the previous animations:
#colorchange{animation-name:red,green,blue;animation-duration:11s,9s,6s;}
In this code example, if red, green, and blue are all keyframe
animations that change the color property to their respective names,
once the animation-name and animation-duration properties are
applied to #colorchange, for the first six seconds, the property values in
blue will take precedence, then green for three seconds, then red for two seconds,
before returning to default property values.
In this scenario, if the blue @keyframe animation does not include the color property in the 0% keyframe, the color will be taken from the animation named green, the animation named red, or the element’s currentColor value, in that order. The same is true for an omitted 100% keyframe.
The default properties of an element are not impacted before the
animation starts, and the properties return to their original values
after the animation ends unless an animation-fill-mode value other
than the default none has been set. If animation-fill-mode: both
were added to the mix, the color would always be blue, as the last
animation, or blue, overrides the previous green animation, which
overrides the red first animation. 
If the display property is set to none on an element, any animation
iterating on that element or its descendants will cease, as if the
animation were detached from the element. Updating the display
property back to a visible value will reattach all the animation
properties, restarting the animation from scratch:
.snowflake{animation:spin2slinear5s20;}
In this case, the snowflake will spin 20 times; each spin takes 2 seconds, with the
first spin starting after 5 seconds. If the snowflake element’s
display property gets set to none after 15 seconds, it would have
completed 5 spins before disappearing (after getting through the 5-second delay, then executing 5 spins at 2
seconds each). If the snowflake display property changes back to
anything other than none, the animation starts from scratch: a 5-second delay will elapse again before it starts spinning 20 times. It
makes no difference how many animation cycles iterated before it
disappeared from view the first time. 
CSS animations have the lowest priority on the user interface (UI) thread. If you attach
multiple animations on page load with positive values for
animation-delay, the delays expire as specified, but the animations
may not begin until the UI thread is available to animate.
Assume the following:
The animations all require the UI thread (that is, they aren’t on the GPU as described in “Animation chaining”).
You have 20
animations with the animation-delay property
set to 1s, 2s, 3s, 4s, and so on in order to start each subsequent animation one second after the previous animation.
The document or application takes a long time to load, with 11 seconds between the time the animated elements were drawn to the page and the time the JavaScript finished being downloaded, parsed, and executed.
Given all that, the delays of the first 11 animations will have expired once the UI thread is available, and those first 11 animations will all commence simultaneously. The remaining animations will each then begin animating at one-second intervals.
While you can use animations to create ever-changing content, dynamically changing content can lead to seizures in some users. Always keep this in mind, and ensure the accessibility of your website to people with epilepsy and other seizure disorders.
We don’t usually start a section with a warning, but in this case, it’s warranted. Visual change, especially rapid visual change, can trigger medical emergencies in users who are prone to seizures. They can also cause severe unease in users who are prone to vestibular disorder (motion sickness).
As this book was going to press in late 2017, a new media query was being deployed in browsers: prefers-reduced-motion. This allows authors to apply styles when the user has a “Reduce motion” or similar preference set for their browser or device. Strongly consider an approach such as this:
@media(prefers-reduced-motion){*{animation:none!important;transition:none!important;}}
This disables all animations and transitions, assuming no other !important animations are specified (and they shouldn’t be). This is not a nuanced or perfect solution, but it’s a first step. You can invert this approach by segregating all of your animations and transitions in a media block for those who do not have motion reduction enabled, like this:
@medianot(prefers-reduced-motion){/* all animations and transitions */}
Not all animations are dangerous or disorienting, and it may be necessary to have at least some animations for all users. In such cases, use prefers-reduced-motion to tone down animations that are essential to understanding of the UI, and to switch off those that are essentially decorative.
Let’s recap animation-related events we can access with DOM event listeners, and what prefixing may be required when using them.
The animationstart event occurs at the start of the animation. If
there is an animation-delay, this event will fire once the delay
period has expired. If there is no delay, the animationstart event occurs
when the animation is applied to the element. Even if there are no
iterations, the animationstart event still occurs. If there are
multiple animations attached to an element, an animationstart event
will occur for each of the applied valid keyframe animations: generally,
one animationstart for each valid animation-name identifier present:
#colorchange{animation:red,green,blue;}
In this example, as long as the red, green, and blue keyframe
animations are valid, while the animations will not be perceptible (as
the default duration of 0s is set on each), there will be three
animationstart events thrown: one for each animation name.
If the browser requires the -webkit- prefix for the animation
properties—basically, Safari 8 and earlier and Android 4.4.4 and older—the event is written as webkitAnimationStart instead of
animationstart. Note the -webkit- prefix and the camelCasing. It is
best to default to the unprefixed syntax and fall back to the prefixed
version only when the unprefixed is unavailable.
The animationend event occurs at the conclusion of the last animation.
It only occurs once per applied animation: if an element has three
animations applied to it, like in the earlier #colorchange example, the
animationend event will occur three times, at the end of the animation. In the example, there was no duration for any of the
animations; however, the animationend event timing is usually
equivalent to the result of the following equation:
(animation-duration*animation-iteration-count)+animation-delay=time
Even if there are no iterations, the animationend event still occurs once
for each animation applied. If the animation-iteration-count is set to
infinite, the animationend event never occurs.
If the browser requires the -webkit- prefix for the animation
properties, the event is written as webkitAnimationEnd instead of
animationend.
The animationiteration event occurs at the end of each iteration of an
animation, before the start of the next iteration. If there are no
iterations, or the iteration count is less than or equal to one, the
animationiteration event never occurs. If the iteration count is
infinite, the animationiteration event occurs ad infinitum, unless
there is no duration set or the duration is 0s.
Unlike the animationstart and animationend events, which each occur
once for each animation name, the animationiteration event can occur
multiple times or no times per animation name, depending on how many
iterations occur. Note that the event happens between animation cycles and
will not occur at the same time as an animationend event. In other
words, if the animation-iteration-count is an integer, the number of
animationiteration events that occur is generally one less that the value of the
animation-iteration-count property, as long as the absolute value of any negative delay is less than the duration.
While not actually “animating” on a printed piece of paper, when an
animated element is printed, the relevant property values will be
printed. You can’t see the element animating on a piece of
paper, but if the animation caused an element to have a border-radius of
50%, the printed element will have a border-radius of 50%.
1 For a detailed (and lovely) illustration of how cubic Bézier curves are actually constructed, we highly recommend the video “Cubic Bezier Curves - Under the Hood”.
Over the past decade, CSS has accumulated some interesting new features. These allow authors to alter the appearance of element with visual filters, specify different ways to visually blend elements with whatever is behind them, and alter the presentation of elements by showing parts and hiding other parts. While these may seem like disparate concepts, they all share one thing in common: they allow elements to be altered in ways that were previously very difficult or impossible.
The veterans among us may remember that a long time ago, Microsoft put a filter property into their CSS support, which was used to pull in DirectX visual effects. In the time since, CSS has gained a filter property of its own, and while it’s similar in concept to what Microsoft did, it isn’t really the same thing. Among other changes, CSS defines a number of built-in visual filter effects, in addition to permitting the loading of filters defined in external files.
The value syntax permits a comma-separated list of filter functions, with each filter applied in sequence. Thus, given the declaration filter: opacity(0.5) blur(1px);, the opacity is applied to the element, and the semi-transparent result is then blurred. If the order were reversed, so too would be the order of application: the fully opaque element is burred, and the resulting blur made semi-transparent.
The CSS specification talks of “input images” when discussing filter, but this doesn’t mean filter is only used on images. Any HTML element can be filtered, and all graphic SVG elements can be filtered. The input image is a visual copy of the rendered element before it is filtered. Filters are applied to this input, and the final filtered result is then rendered to the display medium.
All the values permitted are effectively functions, with the permitted value types for each being dependent on the function in question. I’ve grouped these functions into a few broad categories for ease of understanding.
These filters are basic in the sense that they cause changes that their names directly describe: blurring, drop shadows, and opacity changes:
blur(<length>)Blurs the element’s contents using a Gaussian blur whose standard deviation is defined by the <length> value supplied, where a value of 0 leaves the element unchanged. Negative lengths are not permitted.
opacity( [ <number> | <percentage> ] )Applies a transparency filter to the element in a manner very similar to the opacity property, where the value 0 yields a completely transparent element and a value of 1 or 100% leaves the element unchanged. Negative values are not permitted. Values greater than 1 and 100% are permitted, but are clipped to be 1 or 100% for the purposes of computing the final value.
The specification makes clear that filter: opacity() is not meant to be a replacement or shorthand for the opacity property, and in fact both can be applied to the same element, resulting in a sort of double-transparency.
drop-shadow(<length>{2,3} <color>?)Creates a drop shadow that matches the shape of the element’s alpha channel, with a blur and using an optional color. The handling of the lengths and colors is the same as for the property box-shadow, which means that while the first two <length>s can be negative, the third (which defines the blur) cannot. If no <color> value is supplied, the used color is the same as the computed value of the color property for the element.
The effects of these filter functions, alone and in combination, is shown in Figure 19-1.
Before we go one, there are two things that deserve further exploration. The first is how drop-shadow() really operates. Just by looking at Figure 19-1, it’s easy to get the impression that drop shadows are bound to the element box, because of the boxlike natures of the drop shadows shown there. But that’s just because the image used to illustrate filters is a PNG, which is to say a raster image, and more importantly one that doesn’t have any alpha channel. The white parts are opaque white, in other words.
If the image has transparent bits, then drop-shadow() will use those in computing the shadow. This can be a GIF89a, a PNG, a JPEG2000, an SVG, or any other alpha-aware image format. To see what this means, consider Figure 19-2.
The other thing to point out in Figure 19-2 is the last image has two drop shadows. This was accomplished as follows:
filter:drop-shadow(000.5emyellow)drop-shadow(0.5em0.75em30pxgray);
Any number of filters can be chained together like this. To pick another example, you could write:
filter:blur(3px)drop-shadow(0.5em0.75em30pxgray)opacity(0.5);
That would get you a blurry, drop-shadowed, half-opaque element. It might not be the most reader-friendly effect for text, but it’s possible nonetheless. This function-chaining is possible with all filter functions, both those we’ve seen and those to come.
This next set of filter functions alter the colors present in the filtered element in some way. This can be as simple as leaching out the colors, or as complex as shifting all the colors by way of an angle value.
Note that for the first three of the four of the following functions, all of which accept either a <number> or <percentage>, negative values are not permitted:
grayscale( [ <number> | <percentage> ] )Alters the colors in the element to be shifted toward shades of gray. A value of 0 leaves the element unchanged, and a value of 1 or 100% will result in a fully grayscale element.
sepia( [ <number> | <percentage> ] )Alters the colors in the element to be shifted toward shades of sepia tones (sepia is a reddish-brown color, defined by Wikipedia to be equivalent to #704214 or rgba(112,66,20) in the sRGB color space). A value of 0 leaves the element unchanged, and a value of 1 or 100% will result in a fully sepia element.
invert( [ <number> | <percentage> ] )Inverts all colors in the element. Each of the R, G, and B values for a given color are inverted by subtracting them from 255 (in 0-255 notation) or from 100% (in 0%-100% notation). For example, a pixel with the color rgb(255,128,55) will be rendered as rgb(0,127,200); a different pixel with the value rgb(75%,57.2%,23%) will become rgb(25%,42.8%,77%). A value of 0 leaves the element unchanged, and a value of 1 or 100% will result in a fully inverted element. A value of 0.5 or 50% would stop the inversion of each color at the midpoint of the color space, leading to an element of uniform gray.
hue-rotate( <angle> )Alters the colors of the image by displacing their hue around an HSL color wheel, leaving saturation and lightness alone. A value of 0deg leaves the element unchanged. A value of 360deg (a full single rotation) will also present an apparently unchanged element, though the value is maintained, and values above 360deg are permitted. Negative values are also permitted, and cause an anticlockwise rotation as opposed to the clockwise rotation imposed by positive values. (In other words, the rotation is “compass-style,” with 0º at the top and increasing angle values in the clockwise direction.)
Examples of the preceding filter functions are shown in Figure 19-3, though fully appreciating them depends on a color rendering of the figure.
While these filter functions also manipulate color, they do so in closely related ways, and are a familiar grouping to anyone who’s worked with images, particularly photographic images.
Note that for all these functions, values greater than 1 and 100% are permitted, but are clipped to be 1 or 100% for the purposes of computing the final value:
brightness( [ <number> | <percentage> ] )Alters the brightness of the element’s colors. A value of 0 leaves the element a solid black, and a value of 1 or 100% leaves it unchanged. Values above 1 and 100% yield colors brighter than the base element, and can eventually reach a state of solid white.
contrast( [ <number> | <percentage> ] )Alters the contrast of the element’s colors. The higher the contrast, the more colors are differentiated from each other; the lower the contrast, the more they converge on each other. A value of 0 leaves the element a solid gray, and a value of 1 or 100% leaves it unchanged. Values above 1 and 100% yield colors with greater contrast than is present in the base element.
saturate( [ <number> | <percentage> ] )Alters the saturation of the element’s colors. The more saturated an element’s colors, the more intense they become; the less saturated they are, the more muted they appear. A value of 0 leaves the element completely unsaturated, leaving it effectively grayscale, whereas a value of 1 or 100% will leave the element unchanged. Unlike the preceding functions, saturate() permits and acts upon values greater than 1 or 100%; such values result in supersaturation.
Examples of the preceding filter functions are shown in Figure 19-4, though fully appreciating them depends on a color rendering of the figure. Also, the effects of greater-than-one values may be hard to make out in the figure, but they are present.
The last filter value type is a function of a familiar kind: the url() value type. This allows authors to point to a (potentially very complicated) filter defined in SVG, whether it’s embedded in the document or stored in an external file.
This takes the form url(<uri>), where the <uri> value points to a filter defined using SVG syntax, specifically the <filter> element. This can be a reference to a single SVG image which contains only a filter, such as url(wavy.svg), or it can be a pointer to an identified filter embedded in an SVG image, such as url(filters.svg#wavy). The advantage of the latter pattern is that a single SVG can define multiple filters, thus consolidating all your filtering into one file for easy loading, caching, and referencing.
If a url() function points to a nonexistent file, or points to an SVG fragment that is not a <filter> element, the function is invalid and the entire function list is ignored (thus rendering the filter declaration invalid).
Examining the full range of filtering possibilities in SVG is well beyond the scope of this work, but let’s just say that the power of the offered features is substantial. A few simple examples of SVG filtering are shown in Figure 19-5, with brief captions to indicate what kinds of operations the filters were built to create. (The actual CSS used to apply these filters looked like filter: url(filters.svg#rough).)
It’s easily possible to put every last bit of filtering you do into SVG, including replacements for every other filter function we’ve seen. (In fact, all the other filter functions are defined by the specification as literal SVG filters, to give a precise rendering target for implementors.) Remember, however, that you can chain CSS functions together. Thus, you might define a specular-highlight filter in SVG, and modify it with blurring or grayscale functions as needed. For example:
img.logo{filter:url(/assets/filters.svg#spotlight);}img.logo.print{filter:url(/assets/filters.svg#spotlight)grayscale(100%);}img.logo.censored{filter:url(/assets/filters.svg#spotlight)blur(3px);}
Always keep in mind that the filter functions are applied in order. That’s why the grayscale() and blur() functions each come after the url()-imported spotlight filter. If they were reversed, the logos would be made grayscale or blurred first, and then have a highlight applied afterward.
In addition to filtering, CSS offers the ability to determine how elements are composited together. Take, for example, two elements that partially overlap due to positioning. We’re used to the one in front obscuring the one behind. This is sometimes called simple alpha compositing, in that you can see whatever is behind the element as long as some (or all) of it has alpha channel values less than 1. Think of, for example, how you can see the background through an element with opacity: 0.5, or in the areas of a PNG or GIF87a that are set to be transparent.
But if you’re familiar with image-editing programs like Photoshop or GIMP, you know that image layers which overlap can be blended together in a variety of ways. CSS has gained the same ability. There are two blending strategies in CSS (at least as of late 2017): blending entire elements with whatever is behind them, and blending together the background layers of a single element.
In situations where elements overlap, it’s possible to change how they blend together with the property mix-blend-mode.
The way the CSS specification puts this is: “defines the formula that must be used to mix the colors with the backdrop.” That is to say, the element is blended with whatever is behind it (the “backdrop”), whether that’s pieces of another element, or just the background of its parent element.
The default, normal, means that the element’s pixels are shown as is, without any mixing with the backdrop, except where the alpha channel is less than 1. This is the “simple alpha compositing” mentioned previously. It’s what we’re all used to, which is why it’s the default value. A few examples are shown in Figure 19-6.
For the rest of the mix-blend-mode keywords, I’ve grouped them into a few categories. Let’s also nail down a few definitions:
The foreground is the element that has mix-blend-mode applied to it.
The backdrop is whatever is behind that element. This can be other elements, the background of the parent element, and so on.
A pixel component is the color component of a given pixel: R, G, and B.
If it helps, think of the foreground and backdrop as images that are layered atop one another in an image-editing program. With mix-blend-mode, you can change the blend mode applied to the top image (the foreground).
These blend modes might be called simple-math modes—they achieve their effect by directly comparing values in some way, or using simple addition and subtraction to modify pixels:
darkenEach pixel in the foreground is compared with the corresponding pixel in the backdrop, and for each of the R, G, and B values (the pixel components), the smaller of the two is kept. Thus, if the foreground pixel has a value corresponding to rgb(91,164,22) and the backdrop pixel is rgb(102,104,255), the resulting pixel will be rgb(91,104,22).
lightenThis blend is the inverse of darken: when comparing the R, G, and B components of a foreground pixel and its corresponding backdrop pixel, the larger of the two values is kept. Thus, if the foreground pixel has a value corresponding to rgb(91,164,22) and the backdrop pixel is rgb(102,104,255), the resulting pixel will be rgb(102,164,255).
differenceThe R, G, and B components of each pixel in the foreground are compared to the corresponding pixel in the backdrop, and the absolute value of subtracting one from the other is the final result. Thus, if the foreground pixel has a value corresponding to rgb(91,164,22) and the backdrop pixel is rgb(102,104,255), the resulting pixel will be rgb(11,60,233). If one of the pixels is white, the resulting pixel will be the inverse of the non-white pixel. If one of the pixels is black, the result will be exactly the same as the non-black pixel.
exclusionThis blend is a milder version of difference. Rather than being | back - fore |, the formula is back + fore - (2 × back × fore), where back and fore are values in the range from 0-1. For example, an exclusion calculation of an orange (rgb(100%,50%,0%)) and medium gray (rgb(50%,50%,50%)) will yield rgb(50%,50%,50%). For the red component, the math is 1 + 0.5 - (2 × 1 × 0.5), which reduces to 0.5, corresponding to 50%. For the blue and green components, the math is 0 + 0.5 - (2 × 0 × 0.5), which again reduces to 0.5. Compare this to difference, where the result would be rgb(50%,0%,50%), since each component is the absolute value of subtracting one from the other.
This last definition highlights the fact that for all blend modes, the actual values being operated on are in the range 0-1. The previous examples showing values like rgb(11,60,233) are normalized from the 0-1 range. In other words, given the example of applying the difference blend mode to rgb(91,164,22) and rgb(102,104,255), the actual operation is as follows:
rgb(91,164,22) is R = 91 ÷ 255 = 0.357; G = 164 ÷ 255 = 0.643; B = 22 ÷ 255 = 0.086. Similarly, rgb(102,104,255) corresponds to R = 0.4; G = 0.408; B = 1.
Each component is subtracted from the corresponding component, and the absolute value taken. Thus, R = | 0.357 - 0.4 | = 0.043; G = | 0.643 - 0.408 | = 0.235; B = | 1 - 0.086 | = 0.914. This could be expressed as rgba(4.3%,23.5%,91.4%), or (by multiplying each component by 255) as rgb(11,60,233).
From all this, you can perhaps understand why the full formulas are not written out for every blend mode we cover. If you’re interested in the fine details, each blend mode’s formula is provided in the “Compositing and Blending Level 1” specification.
Examples of the blend modes in this section are depicted in Figure 19-7.
These blend modes might be called the multiplication modes—they achieve their effect by multiplying values together:
multiplyEach pixel component in the foreground is multiplied by the corresponding pixel component in the backdrop. This yields a darker version of the foreground, modified by what is underneath. This blend mode is symmetric, in that the result will be exactly the same even if you were to swap the foreground with the backdrop.
screenEach pixel component in the foreground is inverted (see invert in the earlier section “Color Filtering”), multiplied by the inverse of the corresponding pixel component in the backdrop, and the result inverted again. This yields a lighter version of the foreground, modified by what is underneath. Like multiply, screen is symmetric.
overlayThis blend is a combination of multiply and screen. For foreground pixel components darker than 0.5 (50%), the multiply operation is carried out; for foreground pixel components whose values are above 0.5, screen is used. This makes the dark areas darker, and the light areas lighter. This blend mode is not symmetric, because swapping the foreground for the backdrop would mean a different pattern of light and dark, and thus a different pattern of multiplying versus screening.
Examples of these blend modes are depicted in Figure 19-8.
There blend modes are covered here because the first is closely related to a previous blend mode, and the other is just a muted version of the first:
hard-lightThis blend is the inverse of overlay blending. Like overlay, it’s a combination of multiply and screen, but the determining layer is the backdrop. Thus, for backdrop pixel components darker than 0.5 (50%), the multiply operation is carried out; for backdrop pixel components lighter than 0.5, screen is used. This makes it appear somewhat as if the foreground is being projected onto the backdrop with a projector that employs a harsh light.
soft-lightThis blend is a softer version of hard-light. That is to say, it uses the same operation, but is muted in its effects. The intended appearance is as if the foreground is being projected onto the backdrop with a projector that employs a diffuse light.
Examples of these blend modes are depicted in Figure 19-9.
Color dodging and burning are interesting modes, in that they’re meant to lighten or darken a picture with a minimum of change to the colors themselves. The terms come from old darkroom techniques performed on chemical film stock:
color-dodgeEach pixel component in the foreground is inverted, and the component of the corresponding backdrop pixel component is divided by the inverted foreground value. This yields a brightened backdrop unless the foreground value is 0, in which case the backdrop value is unchanged.
color-burnThis blend is a reverse of color-dodge: each pixel component in the backdrop is inverted, the inverted backdrop value is divided by the unchanged value of the corresponding foreground pixel component, and the result is then inverted. This yields a result where the darker the backdrop pixel, the more its color will burn through the foreground pixel.
Examples of these blend modes are depicted in Figure 19-10.
The final four blend modes are different than those we’ve seen before, because they do not perform operations on the R/G/B pixel components. Instead, they perform operations to combine the hue, saturation, luminosity, and color of the foreground and backdrop in different ways:
hueFor each pixel, combines the luminosity and saturation levels of the backdrop with the hue angle of the foreground.
saturationFor each pixel, combines the hue angle and luminosity level of the backdrop with the saturation level of the foreground.
colorFor each pixel, combines the luminosity level of the backdrop with the hue angle and saturation level of the foreground.
luminosityFor each pixel, combines the hue angle and saturation level of the backdrop with the luminosity level of the foreground.
Examples of these blend modes are depicted in Figure 19-11.
These blend modes can be a lot harder to grasp without busting out raw formulas, and even those can be confusing if you aren’t familiar with how things like saturation and luminosity levels are determined. If you don’t feel like you quite have a handle on how they work, the best thing is to practice with a bunch of different images and simple color patterns.
Two things to note:
Remember that an element always blends with its backdrop. If there are other elements behind it, it will blend with them; if there’s a patterned background on the parent element, the blending will be done against that pattern.
Changing the opacity of a blended element will change the outcome, though not always in the way you might expect. For example, if an element with mix-blend-mode: difference is also given opacity: 0.8, then the difference calculations will be scaled by 80%. More precisely, a scaling factor of 0.8 will be applied to the color-value calculations. This can cause some operations to trend toward flat middle gray, and others to shift the color changes.
Blending an element with its backdrop is one thing, but what if an element has multiple background images that overlap and also need to be blended together? That’s where background-blend-mode comes in.
We won’t go through an exhaustive list of all the blend modes and what they mean, because we did that in the section on mix-blend-mode. What they meant there, they mean here.
The difference is that when it comes to blending multiple backgrounds images together, they’re blended with each other against an empty background—that is, a completely transparent, uncolored backdrop. They do not blend with the backdrop of the element, except as directed by mix-blend-mode.
To see what that means, consider the following:
#example{background-image:url(star.svg),url(diamond.png),linear-gradient(135deg,#F00,#AEA);background-blend-mode:color-burn,luminosity,darken;}
Here we have three background images, each with its own blend mode. These are blended together into a single result, shown in Figure 19-12.
So far, fine. Here’s the kicker: the result will be the same regardless of what might appear behind the element. We can change the parent’s background to white, gray, fuchsia, or a lovely pattern of repeating gradients, and in every case those three blended backgrounds will look exactly the same, pixel for pixel. They’re blended in isolation, a term we’ll return to shortly. We can see the above example (Figure 19-12) sitting atop a variety of backgrounds in Figure 19-13.
Like multiple blended elements stacked atop each other, the blending of background layers works from the back to the front. Thus, if you have two background images over a solid background color, the background layer in the back is blended with the background color, and then the frontmost layer is blended with the result of the first blend. Consider:
#example{background-image:url(star.svg),url(diamond.png);background-color:goldenrod;background-mix-mode:color-burn,luminosity;}
Given these styles, diamond.png is blended with the background color goldenrod using the luminosity blend. Once that’s done, star.png is blended with the results of the diamond-goldenrod blend using a color-burn blend.
Although it’s true that the background layers are blended in isolation, they’re also part of an element which may have its own blending rules via mix-blend-mode. Thus, the final result of the isolated background blend may be blended with the element’s backdrop after all. Given the following styles, the first example’s background will sit atop the element’s backdrop, but the rest will end up blended with it in some fashion, as illustrated in Figure 19-14:
.one{mix-blend-mode:normal;}.two{mix-blend-mode:multiply;}.three{mix-blend-mode:darken;}.four{mix-blend-mode:luminosity;}.five{mix-blend-mode:color-dodge;}
<divclass="bbm one"></div><divclass="bbm two"></div><divclass="bbm three"></div><divclass="bbm four"></div><divclass="bbm five"></div>
Throughout this section, we’ve touched on the concept of blending in isolation, as a thing that backgrounds naturally do. Elements, on the other hand, do not naturally blend in isolation. As we’ll see next, that behavior can be changed.
There may be times when you want to blend a number of different elements together, but in a group of their own, in the same way background layers on an element are blended. This is, as we’ve seen, called blending in isolation. If that’s what you’re after, then the isolation property is for you.
This pretty much does exactly what it says: it either defines an element to create an isolated blending context, or not. Given the following styles, then, we get the result shown in Figure 19-15:
img{mix-blend-mode:difference;}p.alone{isolation:isolate;}
<pclass="alone"><imgsrc="diamond.png"></p><p><imgsrc="diamond.png"></p>
Take particular note of where isolation was applied, and where mix-blend-mode was applied. The image is given the blend mode, but the containing element (in this case, a paragraph) is set to isolation blending. It’s done this way because you want the parent (or some ancestor element) to be isolated from the rest of the document, in terms of how its descendant elements are blended. So if you want an element to blend in isolation, look for an ancestor element to set to isolation: isolate.
There is an interesting wrinkle in all of this, which is that any element which establishes a stacking context is automatically isolated, regardless of the value for isolation. If you transform an element using the transform property, for example, it will become isolated.
The complete list of stacking-context-establishing conditions, as of late 2017, are:
The root element (e.g., <html>)
Positioning an element relatively or absolutely and setting its z-index to anything other than auto
Positioning an element with fixed, regardless of its z-index value
Setting opacity to anything other than 1
Setting transform to anything other than none
Setting mix-blend-mode to anything other than normal
Setting filter to anything other than none
Setting perspective to anything other than none
Setting isolation to isolate
Applying will-change to any of the previous properties, even if they are not actually changed
Thus, if you have a group of elements that are blended together and then blended with their shared backdrop, and you then transition the group’s opacity from 1 to 0, the group will suddenly become isolated during the transition. This might have no visual impact, depending on the original set of blends, but it very well might.
Besides filtering and blending, CSS also has the ability to do both clipping and masking. These are methods of only showing portions of an element, using permitting a variety of simple shapes as well as the application of complete images and SVG elements. These can be used to make decorative bits of a layout more visually interesting, among other things—a common technique is to frame images or give them ragged edges.
One of the possibilities we saw with filter was to apply a clipping path via SVG. That’s a valid use of filters, but if all you want to do is clip off pieces of the element, you can use the property clip-path instead.
With clip-path, you’re able to define a clipping shape. This is essentially the area of the element inside which visible portions are drawn. Any part of the element that fall outside the shape is clipped off, leaving behind empty transparent space. The following code gives a clipped and an unclipped example of the same paragraph, with the result depicted in Figure 19-16:
p{background:orange;color:black;padding:0.75em;}p.clipped{clip-path:url(shapes.svg#cloud02);}
The default value, none, means no clipping is preformed, as you’d probably expect. If a <uri> value is given (as in the previous example) and it points to a missing resource, or to an element in an SVG file that isn’t a <clipPath>, then no clipping occurs.
The rest of the values are either shapes written in CSS, reference boxes, or both.
You can define clip shapes with one of a set of four simple shape functions. These are identical to the shapes used to define float shapes with shape-outside (see Chapter 10), so we won’t re-describe them in detail here. Here’s a brief recap:
inset()Accepts from one to four lengths or percentage values, defining offsets from the edges of the bounding box, with optional corner rounding via the round keyword and another set of one to four lengths or percentages.
circle()Accepts a single length, percentage, or keyword defining the radius of the circle, with an optional position for the circle’s center with the at keyword followed by one or two lengths or percentages.
ellipse()Accepts a mandatory two lengths, percentages, or keywords defining the radii of the vertical and horizontal axes of the ellipse, with an optional position for the ellipse’s center with the at keyword followed by one or two lengths or percentages.
polygon()Accepts a comma-separated list of space-separated x and y coordinates, using either lengths or percentages. Can be prefaced by a keyword defining the fill rule for the polygon.
A variety of examples of these clip shapes is shown in Figure 19-17, corresponding to the following styles. (The dotted borders have been added to show the outer edges of the original image, before clipping.)
.ex01{clip-path:none;}.ex02{clip-path:inset(10px025%2em);}.ex03{clip-path:circle(100pxat50%50%);}.ex04{clip-path:ellipse(100px50pxat75%25%);}.ex05{clip-path:polygon(50%0,100%50%,50%100%,050%);}.ex06{clip-path:polygon(00,50px100px,150px5px,300px150px,0100%);}
As Figure 19-17 shows, the elements are only visible inside the clip shapes. Anything outside that is just gone. But take note of how the clipped elements still take up the same space they would if they weren’t clipped at all. In other words, clipping doesn’t make the elements smaller. It just limits the part of them that’s actually drawn.
Unlike clip shapes, clip boxes aren’t specified using lengths or percentages. They correspond, for the most part, directly to boundaries in the box model.
If you just say clip-path: border-box, for example, the element is clipped along the outside edge of the border. This is likely what you’d expect anyway, since margins are transparent. Remember, however, that outlines can be drawn outside borders, so if you do clip at the border edge, any outlines will be clipped away.
When used by themselves, the values margin-box, padding-box, and content-box dictate that the clipping occur at the outer edges of the margin, padding, or content areas, respectively. These are diagrammed in Figure 19-18.
There’s another part to Figure 19-18, which shows the SVG bounding boxes:
view-boxThe nearest (that is, the closest ancestor) SVG viewport is used as the clipping box.
fill-boxThe object bounding box is used as the clipping box. The object bounding box is the smallest box that will fit every part of the element’s geometry, taking into account any transformations (e.g., rotation), not including any strokes along its outside.
stroke-boxThe stroke bounding box is used as the clipping box. The object bounding box is the smallest box that will fit every part of the element’s geometry, taking into account any transformations (e.g., rotation), including any strokes along its outside.
These values only apply to SVG elements that don’t have an associated CSS layout box. For such elements, if the CSS-style boxes (margin-box, border-box, padding-box, content-box) are given, fill-box is used instead. Conversely, if one of the SVG bounding box values is applied to an element that does have a CSS layout box—which is most elements—then border-box is used instead.
It can be useful at times to be able to say something like clip-path: content-box just to clip off everything outside the content area, but where these box values really come into their own is in conjunction with a clipping shape. Suppose you have an ellipse() clip shape you want to apply to an element, and furthermore, you want to have it just touch the outer edges of the padding box. Rather than have to calculate the necessary radii by subtracting margins and borders from the overall element, you can just say clip-path: ellipse(50% 50%) padding-box;. That will center an elliptical clip shape at the center of the element, with horizontal and vertical radii half the element’s reference box (see Chapter 10), as shown in Figure 19-19, along with the effect of fitting to other boxes.
Notice how the ellipse is cut off in the margin-box example? That’s because the margin is invisible, so while parts of it fall inside the elliptical clip shape, we can’t actually see those parts.
Interestingly, the bounding-box keywords can only be used in conjunction with clip shapes—not with an SVG-based clip path. The keywords that relate to SVG bounding boxes apply only if an SVG image is being clipped via CSS.
A warning about SVG clip paths: as of late 2017, all path coordinates are expressed in absolute units, and can’t be declared as percentages of the image’s height and width as the polygon() shape can. There are techniques involving the clipPathUnits SVG attribute, sometimes in conjunction with the transform SVG attribute, that yield equivalent results. Here’s an example of such a clipping path, with the result shown in Figure 19-20:
<clipPathid="hexlike"clipPathUnits="objectBoundingBox"><polygonpoints="0.5 0, 1 0.25, 1 0.75, 0.5 1, 0 0.75, 0 0.25"/></clipPath>
The objectBoundingBox value fits the coordinates to the bounding box in use, and the coordinates are all in the range of 0–1. With that sort of setup, you get a clip path that behaves the same as a percentage-based polygon shape. You’d get the same clip shape shown in Figure 19-20 by using the following:
clip-path:polygon(50%0,100%25%,100%75%,50%100%,075%,025%);
As with float shapes, it’s possible to change the way SVG shapes are filled, which is to say the exact clipping shape that is created when the path crosses over itself. This is managed with the property clip-rule.
It’s much easier to show than describe, so the difference between nonzero and evenodd shape filling is depicted in Figure 19-21.
Here, you can see how the star is drawn by following lines from the top center through each successive point. The nonzero star fills all of its interior, even when lines cross over each other. The evenodd star, by contrast, leaves parts of itself unfilled, which is why we can see the light blue gradient through its center.
The problem is that as of late 2017, even browsers that supported SVG clipping paths did not support this property, regardless of whether the SVG was embedded in the HTML or external files. Thus, if you want to set the shape-fill of a clipping path to evenodd, you’ll either need to recreate the SVG path as a CSS polygon, or make use of the SVG fill-rule attribute in the SVG file itself.
When we say a “mask,” what we mean is a shape inside which things are visible, and outside which they are not. Masks are thus very similar in concept to clipping paths. The primary differences are twofold: first, you can only use an image to define the areas of the element that are shown or clipped away with masks; and second, there are a lot more properties available to use with masks, allowing you to do things such as position, size, and repeat the masking image.
As of late 2017, the Blink family supported most of the masking properties, but only with the -webkit- prefix. So instead of mask-image, Chrome and Safari supported -webkit-mask-image instead.
The first step to applying a mask is to point to the image that you’ll be using to define the mask. This is accomplished with mask-image, which accepts any image type.
Assuming the image reference is valid, this will give the user agent an image to use as a mask for the element to which it’s been applied.
We’ll start with a simple situation: one image applied to another, where both are the same height and width. Consider Figure 19-22, where both images are shown separately, and then with the first masked by the second.
As you can see, in the parts of the second image that are opaque, the first image is visible. In the parts that are transparent, the first image is not visible. For the parts that are semi-transparent, the first image is also semi-transparent.
Here’s the basic code for the end result shown in Figure 19-22:
img.masked{mask-image:url(theatre-masks.svg);}
CSS doesn’t require that you apply mask images only to other images, though. You can mask pretty much any element with an image, and that image can be a raster image (GIF, JPG, PNG) or a vector image (SVG). The latter is usually a better choice, if available. You can even construct your own image with gradients, whether linear or radial, repeated or otherwise.
The following styles will have the result shown in Figure 19-23:
*.masked.theatre{mask-image:url(theatre-masks.svg);}*.masked.compass{mask-image:url(Compass.png);}
An important point to keep in mind is that when a mask clips off pieces of an element, it clips off all pieces. The best example of this is how, if you apply an image that clips off the outer edges of elements, the markers on list items can very easily become invisible. An example can be seen in Figure 19-24, which is the result of the following:
*.masked{mask-image:url(i/Compass_masked.png);}
<olclass="masked"><li>One</li><li>Two</li><li>Three</li><li>Four</li><li>Five</li></ol>
There is one other value option we haven’t seen yet, which is the ability to point directly at a <mask> element in SVG to use the mask it defines. This analogous to pointing to a <clipPath> or other SVG element from the property clip-path, as was discussed previously in “Clipping”.
Here’s an example of how a mask might be defined:
<svgviewbox="0 0 100 100"height="100"width="100"xmlns="http://www.w3.org/2000/svg"version="1.1"><maskid="hexlike"><pathfill="#FF0000"d="M 50,0 100,25 100,75 50,100 0,75 0,25"/></mask></svg>
With that SVG embedded in the HTML file directly, the mask can be referenced like this:
.masked{mask-image:url(#hexlike);}
If the SVG is in an external file, then this is how to reference it from CSS:
.masked{mask-image:url(masks.svg#hexlike);}
Thus far, we’ve seen masking accomplished by applying an image with an alpha channel to another element. That’s one of two ways to use an image as a mask. The other is to use the brightness of each part of the masking image to define the mask. Switching between these two options is accomplished with the mask-mode property.
Two of the three values are straightforward: alpha means the alpha channel of the image should be used to compute the mask, and luminance means the brightness levels should be used. The difference is illustrated in Figure 19-25, which is the result of the following code:
img.theatre{mask-image:url(i/theatre-masks.svg);}img.compass{mask-image:url(i/Compass_masked.png);}img.lum{mask-mode:luminance;}
<imgsrc="i/theatre-masks.svg"><imgclass="theatre"src="i/mask.JPG"><imgclass="theatre lum"src="i/mask.JPG"><imgsrc="i/Compass_masked.png"><imgclass="compass"src="i/mask.JPG"><imgclass="compass lum"src="i/mask.JPG">
When luminance is used to calculate the mask, brightness is treated the same way alpha values are in alpha masking. Consider how alpha masking works: any part of the image with opacity of zero hides that part of the masked element. A part of the image with opacity of one (that is, fully opaque) reveals that part of the masked element.
The same is true with luminance-based masking. A part of the mask with luminosity of one reveals that part of the masked element. A part of the mask with luminosity of zero (that is, fully black) hides that part of the masked element. But note that any fully transparent part of the mask is also treated as having a luminance of zero. This is why the shadow portion of the theatre-mask image doesn’t show any part of the masked image: its alpha value is greater than zero.
The third (and default) value, match-source, is a combination of alpha and luminance, choosing between them based on the actual source image for the mask as follows:
Thus far, nearly all the examples have been carefully crafted to make each mask’s size match the size of the element it’s masking. (This is why we keeping applying masks to images.) Mask images may be a different size than the masked element. There a couple of ways to deal with this, starting with mask-size.
If you’ve ever sized background images, then you know exactly how to size masks, because the value syntax is exactly the same, as are the behaviors. As an example, consider the following styles, which have the result shown in Figure 19-26:
p{mask-image:url(i/hexlike.svg);}p:nth-child(1){mask-size:100%100%;}p:nth-child(2){mask-size:50%100%;}p:nth-child(3){mask-size:2em3em;}p:nth-child(4){mask-size:cover;}p:nth-child(5){mask-size:contain;}p:nth-child(6){mask-size:200%50%;}
Again, these should be immediately familiar to you if you’ve ever sized backgrounds. If not, please see “Sizing Background Images” in Chapter 9 for a more detailed exploration of the possibilities.
In a like vein, just as the pattern of backgrounds repeating throughout the background area of the element can be changed or suppressed, mask images can be affected with mask-repeat.
The values available here are the same as those for background-repeat. Some examples are shown in Figure 19-27, based on the following styles:
p{mask-image:url(i/theatre-masks.svg);}p:nth-child(1){mask-repeat:no-repeat;mask-size:10%auto;}p:nth-child(2){mask-repeat:repeat-x;mask-size:10%auto;}p:nth-child(3){mask-repeat:repeat-y;mask-size:10%auto;}p:nth-child(4){mask-repeat:repeat;mask-size:30%auto;}p:nth-child(5){mask-repeat:repeatround;mask-size:30%auto;}p:nth-child(6){mask-repeat:spaceno-repeat;mask-size:21%auto;}
Given that sizing and repetition of mask images mirrors the sizing and repetition of background images, you might think that the same is true for positioning the origin mask image, similar to background-position, as well as the origin box, similar to background-origin. And you’d be exactly right.
Once again, if you’ve ever positioned a background image, then you know how to position mask images. Following are a few examples, illustrated in Figure 19-28 (dotted borders have been added for clarity):
p{mask-image:url(i/Compass_masked.png);mask-repeat:no-repeat;mask-size:67%auto;}p:nth-child(1){mask-position:center;}p:nth-child(2){mask-position:topright;}p:nth-child(3){mask-position:33%80%;}p:nth-child(4){mask-position:5em120%;}
By default, the origin box for mask images is the outer border edge. If you want to move it further inward, or define a specific origin box in an SVG context, then mask-origin does for masks what background-origin does for backgrounds.
This is a newer capability for backgrounds, so you might not be familiar with it. For the full story, see “Changing the Positioning Box” in Chapter 9, but for a quick example, see Figure 19-29.
There’s one more property that echoes backgrounds, and that’s mask-clip, the mask equivalent of background-clip.
All this does is clip the overall mask to a specific area of the masked element. In other words, it restricts the area in which the visible parts of the element are in fact visible. Figure 19-30 shows the result of the following styles:
p{padding:2em;border:2emsolidpurple;margin:2em;mask-image:url(i/Compass_masked.png);mask-repeat:no-repeat;mask-size:125%;mask-position:center;}p:nth-child(1){mask-clip:border-box;}p:nth-child(2){mask-clip:padding-box;}p:nth-child(3){mask-clip:content-box;}
The last focused masking property, mask-composite, is quite interesting because it can radically change how multiple masks interact.
mask-composite is not supported by Chrome, even in a prefixed form.
If you aren’t familiar with compositing operations, a diagram is in order. See Figure 19-31.
As depicted in Figure 19-31, the image on top in the operation is called the source, and the image beneath it is called the destination.
This doesn’t particularly matter for three of the four operations: add, intersect, and exclude, all of which have the same result regardless of which image is the source and which the destination. But for subtract, the question is: which image is being subtracted from which? The answer: the destination is subtracted from the source.
The difference is quite substantial. You can see this by considering Figure 19-32, which shows how switching the order of the shapes in the subtraction operation changes the outcome.
The other place the distinction between source and destination becomes important is when compositing multiple masks together. In these cases, the compositing order is from back to front, with each succeeding layer being the source and the already-composited layers beneath it comprising the destination.
To see why, consider Figure 19-33, which shows the various ways three overlapping masks are composited together, and how results change with changes to their order and compositing operations.
The figure is constructed to show the bottommost mask at the bottom, the topmost above the other two, and the resulting mask shown at the very top. Thus, in the first column, the triangle and circle are composited with an exclusion operation. The resulting shape is then composited with the square using an additive operation. That results in the mask shown at the top of the first column.
Just remember that when doing a subtraction composite, the bottom shape is subtracted from the shape above it. Thus, in the third column, the addition of the triangle and circle are subtracted from the square above them.
All of the preceding mask properties are brought together in the shorthand property mask.
mask, like all the other masking properties, accepts a comma-separated list of masks. The order of the values in each mask can be anything except for the mask size, which always follows the position and is separated from it by a solidus (/).
Thus, the following rules are equivalent:
#example{mask-image:url(circle.svg),url(square.png),url(triangle.gif);mask-repeat:repeat-y,no-repeat;mask-position:topright,center,25%67%;mask-composite:subtract,add,add;mask-size:auto,50%33%,contain;}#example{mask:url(circle.svg)repeat-ytopright/autosubtract,url(square.png)no-repeatcenter/50%33%add,url(triangle.gif)repeat-y25%67%/containadd;}
What will happen is the triangle and square are added together, and then the result of that additive composite is subtracted from the circle. The result is shown in Figure 19-34 as applied to a square element (the teal shape on the left) and a shape wider than it is tall (the goldenrod shape on the right).
In situations where you’re using CSS to style SVG elements, and you want to set the type of mask an SVG <mask> element is, then mask-type is for you.
This property is very much similar to mask-mode, except there is no equivalent to match-source. You can only choose luminance or alpha.
The interesting thing is that if mask-type is set for a <mask> element that’s used to mask an element, and mask-mode is declared for that masked element, then mask-mode wins. As example, consider the following rules:
svg#mask{mask-type:alpha;}img.masked{mask:url(#mask)no-repeatcenter/coverluminance;}
Given these rules, the masked images will have a mask with luminance compositing, not alpha compositing. If the mask-mode value were left at its default value, match-source, then mask-type’s value would be used instead.
The same specification that defines clipping paths and element masking, CSS Masking Level 1, also defines a number of properties that are used to apply masking images in a way that mirrors border-image properties. In fact, the properties between border images and border-image masks are direct analogues, and the values the same.
The drawback is that as of late 2017, no browser had even a hint of support for these properties, nor was there any indication of plans for such in the near future. So rather than going through them in detail here, we’ll just summarize them here:
mask-border-sourcePoints to the image to be used as a mask. Can be a URL, gradient, or other <image> value type.
mask-border-sliceDefines how the source image is sliced into pieces for use as borders, and whether the interior is filled.
mask-border-widthDefines the actual width(s) of the border area around the element, into which the various slices of the source image will be placed (and resized, if necessary).
mask-border-outsetDefines a distance past the edges of the element’s default border where the border image may be drawn.
mask-border-repeatSets a repetition pattern for cases when the source image’s slices do not precisely fit the border area into which they are placed. This includes behaviors like resizing the image slice to fit.
mask-border-modeDeclares whether the masking mode is alpha-based, or luminance-based.
mask-borderIf you want to get an idea of how these would work in practice, refer to the section of Chapter 8 titled “Image Borders” and imagine the border images as masks instead.
There is one more variety of masking, sort of, that applies solely to replaced elements like images. With object-fit, you can change how the replaced element fills its element box—or have it not fill that box completely.
If you’ve ever worked with background-size, these values probably look familiar. They do similar things, too, only with replaced elements.
For example, assume a 50 × 50 pixel image. We can change its size via CSS, something like this:
img{width:250px;height:150px;}
The default expectation is that will stretch the 50 × 50 image to be 250 × 150. And if object-fit is its default value, fill, that’s exactly what happens.
Change the value of object-fit, however, and other behaviors occur, as illustrated in Figure 19-35, which might result from CSS like this:
img{width:250px;height:150px;background:silver;border:3pxsolid;}img:nth-of-type(1){object-fit:none;}img:nth-of-type(2){object-fit:fill;}img:nth-of-type(3){object-fit:cover;}img:nth-of-type(4){object-fit:contain;}
In the first instance, none, the img element is drawn 250 pixels wide by 150 pixels tall. The image itself, however, is drawn 50 × 50 pixels—its intrinsic size—because it was directed to not fit the element box. The second instance, fill, is the default behavior, as mentioned.
In the third instance, cover, the image is scaled up until no part of the element box is left “uncovered”—but the image itself keeps its intrinsic aspect ratio. In other words, the image stays a square. In this case, the longest axis of the img element is 250px long, so the image is scaled up to be 250 × 250 pixels. That 250 × 250 image is then placed in the 250 × 150 img element.
The fourth instance, contain, is similar, except the image is only big enough to touch two sides of the img element. This means the image is 150 × 150 pixels, and placed into the 250 × 150 pixel box of its img element.
To reiterate, what you see in Figure 19-35 is four img elements. There are no wrapper div or span or anything other elements around those images. The border and background color are part of the img element. The image placed inside the img element is fitted according to object-fit. The element box of the img element then acts rather like it’s a simple mask for the fitted image inside it. (And then you can mask and clip the element box with the properties covered earlier in this chapter.)
There is a fifth value for object-fit not represented in Figure 19-35, which is scale-down. The meaning of scale-down is “do the same as either none or contain, whichever leads to a smaller size.” This lets an image always be its intrinsic size unless the img element gets too small, in which case it’s scaled down á la contain. This is illustrated in Figure 19-36, where each img element is labeled with the height values they’ve been given; the width in each case is 100px.
So if a replaced element is bigger or smaller than the element box into which it’s being fit, how can we affect its alignment within that box? object-position is the answer.
The value syntax here is just like that for mask-position or background-position, allowing you to position a replaced element within its element box if it isn’t set to object-fit: fill. Thus, given the following CSS, we get the result shown in Figure 19-37:
img{width:200px;height:100px;background:silver;border:1pxsolid;object-fit:none;}img:nth-of-type(2){object-position:topleft;}img:nth-of-type(3){object-position:67%100%;}img:nth-of-type(4){object-position:left142%;}
Notice that the first example in Figure 19-37 has a value of 50% 50%, even though that isn’t present in the CSS sample. That illustrates how the default value of object-position is 50% 50%. The next two examples show how various object-position values move the image around within the img element box.
As the last example shows, it’s possible to move an unscaled replaced element like an image so that it’s partly clipped by its element box. This is similar to positioning background images or masks so that they are clipped at the element boundaries.
It’s also possible to position fitted elements that are larger than the element box, as can happen with object-fit: cover, although the results can be very different than with object-fit: none. The following CSS will have results like those shown in Figure 19-38:
img{width:200px;height:100px;background:silver;border:1pxsolid;object-fit:cover;}img:nth-of-type(2){object-position:topleft;}img:nth-of-type(3){object-position:67%100%;}img:nth-of-type(4){object-position:left142%;}
If any of these results confuse you, review the section “Background Positioning” for more details.
A great deal of our CSS work goes into putting content onto screens of various kinds, whether they sit on office desks or rest in the palms of our hands. There is more to the web than screens, though, and even in the part that is screen-centric, there are many different kinds of screens, each with its own constraints. Recognizing this reality, CSS provides a number of tools with which to apply styles in specific media, or in media with specific features.
Thanks to the mechanisms defined in HTML and CSS called media queries, you can restrict any kind of style sheet to a specific medium, such as screen or print, and set of media conditions. These mechanisms allows you to define a combination of media types and parameters such as display size or color depth, to pick two examples. We’ll cover the basic form of these queries before exploring the more complex forms.
For HTML-based style sheets, you can impose medium restrictions through the media attribute. This works the same for both the link and style elements:
<linkrel="stylesheet"type="text/css"media="print"href="article-print.css"><styletype="text/css"media="speech">body{font-family:sans-serif;}</style>
The media attribute can accept a single medium value or a comma-separated list of values. Thus, to link in a style sheet that should be used in only the screen and speech media, you would write:
<linkrel="stylesheet"type="text/css"media="screen, speech"href="visual.css">
In a style sheet itself, you can also impose medium restrictions on @import rules:
@import url(visual.css) screen;@import url(outloud.css) speech;@import url(article-print.css) print;
Remember that if you don’t add medium information to a style sheet, it will be applied in all media. Therefore, if you want one set of styles to apply only on screen, and another to apply only in print, then you need to add medium information to both style sheets. For example:
<linkrel="stylesheet"type="text/css"media="screen"href="article-screen.css"><linkrel="stylesheet"type="text/css"media="print"href="article-print.css">
If you were to remove the media attribute from the first link element in the preceding example, the rules found in the style sheet article-screen.css would be applied in all media.
CSS also defines syntax for @media blocks. This allows you define styles for multiple media within the same style sheet. Consider this basic example:
<styletype="text/css">body{background:white;color:black;}@mediascreen{body{font-family:sans-serif;}h1{margin-top:1em;}}@media{body{font-family:serif;}h1{margin-top:2em;border-bottom:1pxsolidsilver;}}</style>
Here we see that in all media, the body element is given a white background and a black foreground by the first rule. This happens because its style sheet, the one defined by the style attribute, has no media attribute and thus defaults to all. Next, a block of rules is provided for the screen medium alone, followed by another block of rules that applies only in the print medium.
@media blocks can be any size, containing any number of rules. In situations where authors have control over a single style sheet, such as a shared hosting environment or a content management system (CMS) that restricts what users can edit, @media blocks may be the only way to define medium-specific styles. This is also the case in situations where CSS is used to style a document using an XML language that does not contain a media attribute or its equivalent.
These are the four most widely recognized media types:
allprintUse when printing the document for sighted users, and also when displaying a print preview of the document.
screenUse when presenting the document in a screen medium like a desktop computer monitor or a handheld device. All web browsers running on such systems are screen-medium user agents.
speechUse in speech synthesizers, screen readers, and other audio renderings of the document.
HTML4 defined a list of media types that CSS originally recognized, but most of them have been deprecated and should be avoided. These are aural, braille, embossed, handheld, projection, tty, and tv. If you have old style sheets that use these media types, they should be converted to one of the four recognized media types, if possible.
It’s entirely possible that new media types will be added over time, so remember that this limited list may not always be so limited. It’s fairly easy to imagine augmented-reality as a media type, for example, since text in AR displays would likely need to be of higher contrast in order to stand out against the background reality.
It’s possible in some circumstances to combine media types into comma-separated lists, though the rationale for doing so isn’t terribly compelling, given the small number of media types currently available. For example, styles could be restricted to only screen and print media in the following ways:
<linkrel="stylesheet"type="text/css"media="screen, print"href="article.css">
@importurl(article.css),screen;@mediascreen,{/* styles go here */}
In the previous section, we saw how multiple media types could be chained together with a comma. We might call that a compound media query, because it allows us to address multiple media at once. There is a great deal more to media queries, though: it’s possible to apply styles based not just media types, but also features of those media, such as display size or color depth.
This is a great deal of power, and it’s not enough to rely on commas to make it all happen. Thus, CSS introduced the logical operator and to pair media types with features of those media.
Let’s see how this plays out in practice. Here are two essentially equivalent ways of applying an external style sheet when rendering the document on a color printer:
<linkhref="print-color.css"type="text/css"media="print and (color)"rel="stylesheet">
@import url(print-color.css) print and (color);
Anywhere a media type can be given, a media query can be constructed. This means that, following on the examples of the previous section, it is possible to list more than one query in a comma-separated list:
<linkhref="print-color.css"type="text/css"media="print and (color), screen and (color)"rel="stylesheet">
@import url(print-color.css) print and (color), screen and (color);
In a situation where even one of the media queries evaluates to true, the associated style sheet is applied. Thus, given the previous @import, print-color.css will be applied if rendering to a color printer or to a color screen environment. If printing on a black-and-white printer, both queries will evaluate to false and print-color.css will not be applied to the document. The same holds true in a grayscale screen environment, any speech media environment, and so forth.
Each media descriptor is composed of a media type and one or more listed media features, with each media feature descriptor is enclosed in parentheses. If no media type is provided, then it is assumed to be all, which makes the following two examples equivalent:
@mediaalland(min-resolution:96dpi){…}@media(min-resolution:96dpi){…}
Generally speaking, a media feature descriptor is formatted like a property-value pair in CSS, only enclosed by parentheses. There are a few differences, most notably that some features can be specified without an accompanying value. For example, any color-based medium will be matched using (color), whereas any color medium using a 16-bit color depth is matched using (color: 16). In effect, the use of a descriptor without a value is a true/false test for that descriptor: (color) means “is this medium in color?”
Multiple feature descriptors can be linked with the and logical keyword. In fact, there are two logical keywords in media queries:
andLinks together two or more media features in such a way that all of them must be true for the query to be true. For example, (color) and (orientation: landscape) and (min-device-width: 800px) means that all three conditions must be satisfied: if the media environment has color, is in landscape orientation, and the device’s display is at least 800 pixels wide, then the style sheet is used.
notNegates the entire query so that if all of the conditions are true, then the style sheet is not applied. For example, not (color) and (orientation: landscape) and (min-device-width: 800px) means that if the three conditions are satisfied, the statement is negated. Thus, if the media environment has color, is in landscape orientation, and the device’s display is at least 800 pixels wide, then the style sheet is not used. In all other cases, it will be used.
Note that the not keyword can only be used at the beginning of a media query. It is not presently legal to write something like (color) and not (min-device-width: 800px). In such cases, the query will be ignored. Note also that browsers too old to understand media queries will always skip a style sheet whose media descriptor starts with not.
An example of how all this plays out is shown in Figure 20-1, which is the result of the following styles:
@mediascreenand(min-resolution:72dpi){.cl01{font-style:italic;}}@mediascreenand(min-resolution:32767dpi){.cl02{font-style:italic;}}@medianot{.cl03{font-style:italic;}}@medianotand(grayscale){.cl04{font-style:italic;}}
First, bear in mind that, even though you may be reading this on printed paper, the actual image in Figure 20-1 was generated with a screen-medium browser (Firefox Nightly, as it happens) displaying an HTML document with the previous CSS applied to it. So everything you see there was operating under a screen medium.
The first line is italicized because the screen on which the file was displayed had a resolution equal to or greater than than 72 dots per inch. Its resolution was not, however, 32767dpi or higher, so the second media block is skipped and thus the second line stays un-italicized. The third line is italicized because, being a screen display, it was not print. The last line is italicized because it was either not print or not grayscale—in this case, not grayscale.
There is no OR keyword for use in media queries. Instead, the commas that separate a list of queries serve the function of an OR—screen, print means “apply if the media is screen or print.” Therefore, instead of screen and (max-color: 2) or (monochrome), which is invalid and thus ignored, you need to write screen and (max-color: 2), screen and (monochrome).
There is one more keyword, only, which is designed to create deliberate backward incompatibility. Yes, really.
onlyUsed to hide a style sheet from browsers too old to understand media queries. For example, to apply a style sheet in all media, but only in those browsers that understand media queries, you write something like @import url(new.css) only all. In browsers that do understand media queries, the only keyword is ignored and the style sheet is applied. In browsers that do not understand media queries, the only keyword creates an apparent media type of only all, which is not valid. Thus, the style sheet is not applied in such browsers. Note that the only keyword can only be used at the beginning of a media query.
So far we’ve seen a number of media feature descriptors in the examples, but not a complete list of the possible descriptors and their values. Let us fix that now!
Note that none of the following values can be negative, and remember that feature descriptors are always enclosed in parentheses.
width, min-width, max-widthRefers to the width of the display area of the user agent. In a screen-media web browser, this is the width of the viewport plus any scrollbars. In paged media, this is the width of the page box, which is the area of the page in which content is rendered. Thus, (min-width: 850px) applies when the viewport is greater than or equal to 850 pixels wide.
height, min-height, max-heightRefers to the height of the display area of the user agent. In a screen-media web browser, this is the height of the viewport plus any scrollbars. In paged media, this is the height of the page box. Thus, (height: 567px) applies when the viewport’s height is precisely 567 pixels tall.
device-width, min-device-width, max-device-widthRefers to the width of the complete rendering area of the output device. In screen media, this is the width of the screen; i.e., a handheld device screen’s or desktop monitor’s horizontal measurement. In paged media, this is the width of the page itself. Thus, (max-device-width: 1200px) applies when the device’s output area is less or equal to than 1,200 pixels wide.
device-height, min-device-height, max-device-heightRefers to the height of the complete rendering area of the output device. In screen media, this is the height of the screen; i.e., a handheld device screen’s or desktop monitor’s vertical measurement. In paged media, this is the height of the page itself. Thus, (max-device-height: 400px) applies when the device’s output area is less than or equal to 400 pixels tall.
aspect-ratio, min-aspect-ratio, max-aspect-ratiodevice-aspect-ratio, min-device-aspect-ratio, max-device-aspect-ratiocolor, min-color, max-colorRefers to the presence of color-display capability in the output device, with an optional number value representing the number of bits used in each color components. Thus, (color) applies to any device with any color depth at all, whereas (min-color: 4) means there must be at least four bits used per color component. Any device that does not support color will return 0.
color-index, min-color-index, max-color-indexmonochrome, min-monochrome, max-monochromeRefers to the presence of a monochrome display, with an optional number of bits-per-pixel in the output device’s frame buffer. Any device that is not monochrome will return 0. Thus, (monochrome) applies to any monochrome output device, whereas (min-monochrome: 2) means any monochrome output device with a minimum of 2 bits per pixel in the frame buffer.
resolution, min-resolution, max-resolutionRefers to the resolution of the output device in terms of pixel density, measured in either dots per inch (dpi) or dots per centimeter (dpcm); see the definition of <resolution> in the next section for details. If an output device has pixels that are not square, then the least dense axis is used; for example, if a device is 100 dpcm along one axis and 120 dpcm along the other, then 100 is the value returned. Additionally, in such non-square cases, a bare resolution feature query—that is, one without a value—can never match (though min-resolution and max-resolution can). Note that resolution values must not only be non-negative, but also nonzero.
orientationscangridThere are two new value types introduced by media queries, and which (as of early 2017) are not used in any other context. These types are used in conjunction with specific media features, which are explained in the previous sections:
A ratio value is two positive <integer> values separated by a solidus (/) and optional whitespace. The first value refers to the width, and the second to the height. Thus, to express a height-to-width ratio of 16:9, you can write 16/9 or 16 / 9. As of this writing, there is no facility to express a ratio as a single real number, nor to use a colon separator instead of a solidus.
A resolution value is a positive <integer> followed by either of the unit identifiers dpi or dpcm. In CSS terms, a “dot” is any display unit, the most familiar of which is the pixel. As usual, whitespace is not permitted between the <integer> and the identifier. Therefore, a display whose display has exactly 150 pixels (dots) per inch is matched with 150dpi.
Media queries are, at least as of early 2017, the foundation on which the practice of responsive web design is built. By applying different sets of rules depending on the display environment, it’s possible to marry mobile-friendly and desktop-friendly styles into a single style sheet.
Those terms were put in quote because, as you may have seen in your own life, the lines between what’s mobile and what’s desktop are blurred. A laptop with a touch-sensitive screen that folds all the way back can act as both a tablet and a laptop, for example. CSS doesn’t (yet) have a way of detecting whether or not a hinge is open past a certain point, nor whether the device is held in hand or sitting on a flat surface. Instead, inferences are drawn from aspects of the media environment, like display size or display orientation.
A fairly common pattern in responsive design is to define breakpoints for each @media block. This often takes the form of certain pixel widths, like this:
/* …common styles here… */@media(max-width:400px){/* …small-screen styles here… */}@media(min-width:401px)and(max-width:1000px){/* …medium-screen styles here… */}@media(min-width:1001px){/* …big-screen styles here… */}
This is often sufficient. It does make certain assumptions about what a device can display and how it will report that, however. For example, the iPhone 6 Plus had a resolution of 1,242 × 2,208, which it downsampled to 1,080 × 1,920. Even at the downsampled resolution, that’s enough pixels across to qualify for big-screen styles in the previous example.
But wait! The iPhone 6 Plus also maintained an internal coordinate system of points which measured 414 × 736. If it decided to use those as its definition of pixels, which would be entirely valid, then it would only get the small-screen styles.
The point here isn’t to single out the iPhone 6 Plus as uniquely bad, which it wasn’t, but to illustrate the uncertainties of relying on pixel-based media queries. Browser makers have gone to some effort to make their browsers behave with some semblance of sanity, but never quite as much as we’d like, and you never know when a new device’s assumptions will clash with your own.
There are other methods available, though they come with their own uncertainties. Instead of pixels, you might try em-based measures, something like this:
/* …common styles here… */@media(max-width:20em){/* …small-screen styles here… */}@media(min-width:20.01em)and(max-width:50em){/* …medium-screen styles here… */}@media(min-width:50.01em){/* …big-screen styles here… */}
This ties the breakpoints to text display size rather than pixels, which is somewhat more robust. This isn’t perfect either, though: it relies on a sensible approach to determining the em width of, say, a smartphone. It also directly relies on the actual font family and size used by the device, which varies from one device to another.
Here’s another seemingly simple query set with potentially surprising results:
/* …common styles here… */@media(orientation:landscape){/* …wider-than-taller styles here… */}@media(orientation:portrait){/* …taller-than-wider styles here… */}
This feels like a good way to tell if a smartphone is in use: after all, most of them are taller than they are wide, and most people don’t turn them sideways to read. The wrinkle is that the orientation feature refers to the height and width descriptors; that is, orientation is portrait is height is equal to or larger than width. Not device-height and device-width, but height and width, which refer to the display area of the user agent.
That means a desktop browser window whose display area (the part inside the browser Chrome) is taller than it is wide, or even perfectly square, will get the portrait styles. So if you assume “portrait equals smartphone,” some of your desktop users could get a surprise.
The basic point here is: responsive styling is powerful, and like any powerful tool, it requires a fair amount of thought and care in its use. Carefully considering the implications of each combination of feature queries is the minimum requirement for successful responsiveness.
In CSS terms, a paged medium is any medium where a document’s presentation is handled as a series of discrete “pages.” This is different than the screen, which is a continuous medium: documents are presented as a single, scrollable “page.” An analog example of a continuous medium is a papyrus scroll. Printed material, such as books, magazines, and laser printouts, are all paged media. So too are slideshows, where a series of slides are shown one at a time. Each slide is a “page” in CSS terms.
Even in the paperless future, the most commonly encountered paged medium is a printout of some document—a web page, a word-processing document, a spreadsheet, or something else that has been committed to the thin wafers of a dead tree. Authors can do a number of things to make printouts of their documents more pleasing for the user, from affecting page-breaking to creating styles meant specifically for print.
Note that print styles would also be applied to document display in a print preview mode. Thus, it’s possible in some circumstances to see print styles on a monitor.
Beyond the obvious physical differences, there are a number of stylistic differences between screen and print design. The most basic involves font choices. Most designers will tell you that sans-serif fonts are best suited for screen design, but serif fonts are more readable in print. Thus, you might set up a print style sheet that uses Times instead of Verdana for the text in your document.
Another major difference involves font sizing. If you’ve spent any time at all doing web design, you’ve probably heard again and again (and again) that points are a horrible choice for font sizing on the web. This is basically true, especially if you want your text to be consistently sized between browsers and operating systems. However, print design is not web design any more than web design is print design. Using points, or even centimeters or picas, is perfectly OK in print design because printing devices know the physical size of their output area. If a printer has been loaded with 8.5 × 11 inch paper, then it knows it has a printing area that will fit within the edges of a piece of paper. It also knows how many dots there are in an inch, since it knows the dpi it’s capable of generating. This means that it can cope with physical-world length units like points.
Many a print style sheet has started with:
body{font:12pt"Times New Roman","TimesNR",Times,serif;}
It’s so traditional, it just might bring a tear of joy to the eye of a graphic artist reading over your shoulder. But make sure they understand that points are acceptable only because of the nature of the print medium—they’re still not good for web design.
Alternatively, the lack of backgrounds in most printouts might bring a tear of frustration to that designer’s eye. In order to save users ink, most web browsers are pre-configured not to print background colors and images. If the user wants to see those backgrounds in the printout, they have to change an option somewhere in the preferences.
CSS can’t do anything to force the printing of backgrounds. However, you can use a print style sheet to make backgrounds unnecessary. For example, you might include this rule in your print style sheet:
*{color:black!important;background:transparent!important;}
This will do its utmost to ensure all of your elements print out as black text and remove any backgrounds you might have assigned in an all-medium style sheet. It also makes sure that if you have a web design that puts yellow text on a dark gray background, a user with a color printer won’t get yellow text on a white piece of paper.
One other difference between paged media and continuous media is that multicolumn layouts are even harder to use in paged media. Suppose you have an article where the text has been formatted as two columns. In a printout, the left side of each page will contain the first column, and the right side the second. This would force the user to read the left side of every page, then go back to the beginning of the printout and read the right side of every page. This is annoying enough on the web, but on paper it’s much worse.
One solution is to use CSS for laying out your two columns (by floating them, perhaps) and then writing a print style sheet that restores the content to a single column. Thus, you might write something like this for the screen style sheet:
div#leftcol{float:left;width:45%;}div#rightcol{float:right;width:45%;}
Then in your print style sheet, you would write:
div#leftcol,div#rightcol{float:none;width:auto;}
Alternatively, in user agents that support it, you might define actual multicolumn layout for both screen and print, and trust the user agents to do the right thing.
We could spend an entire chapter on the details of print design, but that really isn’t the purpose of this book. Let’s start exploring the details of paged-media CSS and leave the design discussions for another book.
In much the same way as it defines the element box, CSS2 defines a page box that describes the components of a page. A page box is composed of basically two regions:
The page area, which is the portion of the page where the content is laid out. This is roughly analogous to the content area of a normal element box, to the extent that the edges of the page area act as the initial containing block for layout within a page.
The margin area, which surrounds the page area.
The page box model is illustrated in Figure 20-2.
The @page block is the method by which settings are made, and the size property is used to define the actual dimensions of the page box. Here’s a simple example:
@page{size:7.5in10in;margin:0.5in;}
@page is a block like @media is a block, and within it can contain any set of styles. One of them, size, only makes sense in the context of an @page block.
As of early 2017, only Chrome and Opera supported size, the latter with some oddities in its calculation of dimensions.
This property is used to define the size of the page area. The value landscape is meant to cause the layout to be rotated 90 degrees, whereas portrait is the normal orientation for Western-language printing. Thus, an author could cause a document to be printed sideways by declaring the following, with the result shown in Figure 20-3:
@page{size:landscape;}
In addition to landscape and portrait, there are a number of predefined page-size keywords available. These are summarized in Table 20-1.
|
International Standards Organization (ISO) A5 size, 148mm wide x 210mm tall (5.83in x 8.27in). |
|
ISO A2 size, 210 mm x 297 mm (8.27 in x 11.69 in). |
|
ISO A3 size, 297 mm x 420 mm (11.69 in x 16.54 in). |
|
ISO B5 size, 176 mm x 250 mm (6.93 in x 9.84 in). |
|
ISO B4 size, 250 mm x 353 mm (9.84 in x 13.9 in). |
|
ISO Japanese Industrial Standards (JIS) B5 size, 182 mm x 257 mm (7.17 in x 10.12 in). |
|
ISO JIS B4 size, 257 mm x 364 mm (10.12 in x 14.33 in). |
|
North American letter size, 8.5 in x 11 in (215.9 mm x 279.4 mm). |
|
North American legal size, 8.5 in x 14 in (215.9 mm x 355.6 mm). |
|
North American ledger size, 11 in x 17 in (279.4 mm x 431.8 mm). |
Any one of the keywords can be used to declare a page size. The following defines a page to be JIS B5 size:
@page{size:JIS-B5;}
These keywords can be combined with the landscape and portrait keywords; thus, to define landscape-oriented North American legal pages, the following is used:
@page{size:landscapelegal;}
Besides using keywords, it’s also possible to define page sizes using length units. In such cases, the width is given first, and then the height. Therefore, the following defines a page area 8 inches wide by 10 inches tall:
@page{size:8in10in;}
The defined area is usually centered within the physical page, with equal amounts of whitespace on each side. If the defined size is larger than the printable area of the page, then the user agent has to decide what to do to resolve the situation. There is no defined behavior here, so it’s really dealer’s choice.
Related to size, CSS includes the ability to style the margin area of the page box. If you want to make sure that only a small bit at the center of every 8.5 × 11 inch page is used to print, you could write:
@page{margin:3.75in;}
This would leave a printing area 1 inch wide by 3.5 inches tall.
It is possible to use the length units em and ex to describe either the margin area or the page area, at least in theory. The size used is taken from the page context’s font, which is to say, the base font size used for the content displayed on the page.
CSS2 offers the ability to create different page types using named @page rules. Let’s say you have a document on astronomy that is several pages long, and in the middle of it, there is a fairly wide table containing a list of the physical characteristics of all the moons of Saturn. You want to print out the text in portrait mode, but the table needs to be landscape. Here’s how you’d start:
@pagenormal{size:portrait;margin:1in;}@pagerotate{size:landscape;margin:0.5in;}
Now you just need to apply these page types as needed. The table of Saturn’s moons has an id of moon-data, so you write the following rules:
body{page:normal;}table#moon-data{page:rotate;}
This causes the table to be printed landscape, but the rest of the document to be in portrait orientation. The property page is what makes this possible.
As you can see from looking at the value definition, the whole reason page exists is to let you assign named page types to various elements in your document.
As of early 2017, there was little if any support for named pages.
There are more generic page types that you can address through special pseudo-classes. :first lets you apply special styles to the first page in the document. For example, you might want to give the first page a larger top margin than other pages. Here’s how:
@page{margin:3cm;}@page:first{margin-top:6cm;}
This will yield a 3 cm margin on all pages, with the exception of a 6 cm top margin on the first page.
In addition to styling the first page, you can also style left and right pages, emulating the pages to the left and right of a book’s spine. You can style these differently using :left and :right. For example:
@page:left{margin-left:3cm;margin-right:5cm;}@page:right{margin-left:5cm;margin-right:3cm;}
These rules will have the effect of putting larger margins between the content of the left and right pages, on the sides where the spine of a book would be. This is a common practice when pages are to be bound together into a book of some type.
In a paged medium, it’s a good idea to exert some influence over how page breaks are placed. You can affect page breaking using the properties page-break-before and page-break-after, both of which accept the same set of values.
The default value of auto means that a page break is not forced to come before or after an element. This is the same as any normal printout. always causes a page break to be placed before (or after) the styled element.
For example, assume a situation where the page title is an h1 element, and the section titles are all h2 elements. We might want a page break right before the beginning of each section of a document and after the document title. This would result in the following rules, illustrated in Figure 20-4:
h1{page-break-after:always;}h2{page-break-before:always;}
If you want the document title to be centered in its page, then we’d add rules to that effect. Since we don’t, we just get a very straightforward rendering of each page.
The values left and right operate in the same manner as always except they further define the type of page on which printing can resume. Consider the following:
h2{page-break-before:left;}
This will force every h2 element to be preceded by enough page breaks so that the h2 will be printed at the top of a left page—that is, a page surface that would appear to the left of a spine if the output were bound. In double-sided printing, this would mean printing on the back of a piece of paper.
So let’s assume that, in printing, the element just before an h2 is printed on a right page. The previous rule would cause a single page break to be inserted before the h2, thus pushing it to the next page. If the next h2 is preceded by an element on a left page, however, the h2 would be preceded by two page breaks, thus placing it at the top of the next left page. The right page between the two would be intentionally left blank. The value right has the same basic effect, except it forces an element to be printed at the top of a right page preceded by either one or two page breaks.
The companion to always is avoid, which directs the user agent to do its best to avoid placing a page break either before or after an element. To extend the previous example, suppose you have subsections whose titles are h3 elements. You want to keep these titles together with the text that follows them, so you want to avoid a page break following an h3 whenever possible:
h3{page-break-after:avoid;}
Note, though, that the value is called avoid, not never. There is no way to absolutely guarantee that a page break will never be inserted before or after a given element. Consider the following:
img{height:9.5in;width:8in;page-break-before:avoid;}h4{page-break-after:avoid;}h4+img{height:10.5in;}
Now, suppose further that you have a situation where an h4 is placed between two images, and its height calculates to be half an inch. Each image will have to be printed on a separate page, but there are only two places the h4 can go: at the bottom of the page holding the first element, or on the page after it. If it’s placed after the first image, then it has to be followed by a page break, since there’s no room for the second image to follow it.
On the other hand, if the h4 is placed on a new page following the first image, then there won’t be room on that same page for the second image. So, again, there will be a page break after the h4. And, in either case, at least one image, if not both, will be preceded by a page break. There’s only so much the user agent can do, given a situation like this one.
Situations such as these are rare, but they can happen—for example, in a case where a document contains nothing but tables preceded by headings. There may be cases where tables print in such a way that they force a heading element to be followed by a page break, even though the author requested such break placement be avoided.
The same sorts of issues can arise with the other page-break property,
page-break-inside. Its possible values are more limited than those of its cousins.
With page-break-inside, you pretty much have one option other than the default: you can request that a user agent try to avoid placing page breaks within an element. If you have a series of aside divisions, and you don’t want them broken across two pages, you could declare:
div.aside{page-break-inside:avoid;}
Again, this is a suggestion more than an actual rule. If an aside turns out to be longer than a page, the user agent can’t help but place a page break inside the element.
In an effort to provide finer influence over page-breaking, CSS2 defines two properties common to both traditional print typography and desktop publishing: widows and orphans.
These properties have similar aims but approach them from different angles. The value of widows defines the minimum number of line boxes found in an element that can be placed at the top of a page without forcing a page break to come before the element. orphans has the same effect in reverse: it gives the minimum number of line boxes that can appear at the bottom of a page without forcing a page break before the element.
Let’s take widows as an example. Suppose you declare:
p{widows:4;}
This means that any paragraph can have no fewer than four line boxes appear at the top of a page. If the layout of the document would lead to fewer line boxes, then the entire paragraph is placed at the top of the page. Consider the situation shown in Figure 20-5. Cover up the top part of the figure with your hand so that only the second page is visible. Notice that there are two line boxes there, from the end of a paragraph that started on the previous page. Given the default widows value of 2, this is an acceptable rendering. However, if the value were 3 or higher, the entire paragraph would appear at the top of the second page as a single block. This would require that a page break be inserted before the paragraph in question.
Refer back to Figure 20-5, and this time cover up the second page with your hand. Notice the four line boxes at the bottom of the page, at the beginning of the last paragraph. This is fine as long as the value of orphans is 4 or less. If it were 5 or higher, then the paragraph would again be preceded by a page break and be laid out as a single block at the top of the second page.
One potential pitfall is that both orphans and widows must be satisfied. If an author declared the following, then most paragraphs would be without an interior page break:
p{widows:30;orphans:30;}
It would take a pretty lengthy paragraph to allow an interior page break, given those values. If the intent is to prevent interior breaking, then that intent would be better expressed as:
p{page-break-inside:avoid;}
Because CSS2 allows for some odd page-breaking styles, it defines a set of behaviors regarding allowed page breaks and “best” page breaks. These behaviors serve to guide user agents in how they should handle page-breaking in various circumstances.
There are really only two generic places where page breaks are permitted. The first of these is between two block-level boxes. If a page break falls between two block boxes, then the margin-bottom value of the element before the page break is reset to 0, as is the margin-top of the element following the page break. However, there are two rules that affect whether a page break can fall between two element boxes:
If the value of page-break-after for the first element—or the value of page-break-before for the second element—is always, left, or right, then a page break will be placed between the elements. This is true regardless of the value for the other element, even if it’s avoid.
(This is a forced page break.)
If the value of the first element’s page-break-after value is auto, and the same is true for the second element’s page-break-before value, and they do not share an ancestor element whose page-break-inside value is not avoid, then a page break may be placed between them.
Figure 20-6 illustrates all the possible page-break placements between elements in a hypothetical document. Forced page breaks are represented as a filled square, whereas potential (unforced) page breaks are shown as an open square.
Second, page breaks are allowed between two line boxes inside a block-level box. This, too, is governed by a pair of rules:
A page break may appear between two line boxes only if the number of line boxes between the start of the element and the line box before the page break would be less than the value of orphans for the element. Similarly, a page break can be placed only where the number of line boxes between the line box after the page break and the end of the element is less than the value of widows.
A page break can be placed between line boxes if the value of page-break-inside for the element is not avoid.
In both cases, the second of the two rules controlling page-break placement is ignored if no page-break placement can satisfy all the rules. Thus, given a situation where an element has been given page-break-inside: avoid but the element is longer than a full page, a page break will be permitted inside the element, between two line boxes. In other words, the second rule regarding page-break placement between line boxes is ignored.
If ignoring the second rule in each pair of rules still does not yield good page-break placement, then other rules can also be ignored. In such a situation, the user agent is likely to ignore all page-break property values and proceed as if they were all auto, although this approach is not defined (or required) by the CSS specification.
In addition to the previously explored rules, CSS2 defines a set of best page-breaking behaviors:
Break as few times as possible.
Make all pages that don’t end with a forced break appear to have about the same height.
Avoid breaking inside a block that has a border.
Avoid breaking inside a table.
Avoid breaking inside a floated element.
These recommendations aren’t required of user agents, but they offer logical guidance that should lead to ideal page-breaking behaviors.
A very common desire in paged media is the ability to have a running head. This is an element that appears on every page, such as the document’s title or the author’s name. This is possible in CSS2 by using a fixed-position element:
div#runhead{position:fixed;top:0;right:0;}
This will place any div with an id of runhead at the top-right corner of every page box when the document is output to a paged medium. The same rule would place the element in the top-right corner of the viewport in a continuous medium, such as a web browser. Any element positioned in this way will appear on every page. It is not possible to
copy an element to become a repeated element. Thus, given the following, the h1 element will appear as a running head on every page including the first one:
h1{position:fixed;top:0;width:100%;text-align:center;font-size:80%;border-bottom:1pxsolidgray;}
The drawback is that the h1 element, being positioned on the first page, cannot be printed as anything except the running head.
All this talk of positioning elements in a paged medium leads to an interesting question: what happens if an element is positioned outside the page box? You don’t even need positioning to create such a situation. Think about a pre element that contains a line with 411 characters. This is likely to be wider than any standard piece of paper, and so the element will be wider than the page box. What will happen then?
As it turns out, CSS2 doesn’t say exactly what user agents should do, so it’s up to each to come up with a solution. For a very wide pre element, the user agent might clip the element to the page box and throw away the rest of the content. It could also generate extra pages to display the leftover part of the element.
There are a few general recommendations for handling content outside the page box, and two that are really important. First, content should be allowed to protrude slightly from a page box in order to allow bleeding. This implies that no extra page would be generated for the portions of such content that exceed the page box, but do not extend all the way off the page.
Second, user agents are cautioned not to generate large numbers of empty pages for the sole purpose of honoring positioning information. Consider:
h1{position:absolute;top:1500in;}
Assuming that the page boxes are 10 inches high, the user agent would have to precede an h1 with 150 page breaks (and thus 150 blank pages) just to honor that rule. Instead, a user agent might choose to skip the blank pages and just output the last one, which actually contains the h1 element.
The other two recommendations state that user agents should not position elements in strange places just to avoid rendering them, and that content placed outside a page box can be rendered in any of a number of ways. (Some of the commentary in CSS is useful and intriguing, but some seems to exist solely to cheerily state the obvious.)
Thanks to the combination of media queries and media-specific style features, it is possible to provide a wide range of design experiences from within a single set of styles. Whether reorganizing a page to account for varying display sizes or reworking the color scheme to support grayscale printing, authors have the ability to do a great deal to make their work the best in can be, no matter what the output channel.
Following is a list of animatable properties as given in the CSS Transitions specification. Because this only lists the CSS 2.1 properties that are animatable, it is not complete, but it is illustrative for understanding which kinds of properties are animatable and in what ways, and which properties are not.
| Property name | Interpolation | |
|---|---|---|
| Color | ||
color
|
as color | |
opacity
|
as number | |
| columns | ||
column-width
|
as length | |
column-count
|
as integer | |
column-gap
|
as length | |
column-rule (see longhands)
|
||
column-rule-color:
|
as color | |
column-rule-style:
|
no | |
column-rule-width:
|
as length | |
break-before
|
no | |
break-after
|
no | |
break-inside
|
no | |
column-span
|
no | |
column-fill
|
no | |
| text | ||
hyphens
|
no | |
letter-spacing
|
as length | |
word-wrap
|
no | |
overflow-wrap
|
no | |
text-transform
|
no | |
tab-size
|
as length | |
text-align
|
no | |
text-align-last
|
no | |
text-indent
|
as length, percentage, or calc(); | |
direction
|
no | |
white-space
|
no | |
word-break
|
no | |
word-spacing
|
as length | |
line-break
|
no | |
| Text decorations | ||
text-decoration-color:
|
as color | |
text-decoration-style:
|
no | |
text-decoration-line:
|
no | |
text-decoration-skip
|
no | |
text-shadow
|
as shadow list | |
text-underline-position
|
no | |
| Flexible boxes | ||
align-content
|
no | |
align-items
|
no | |
align-self
|
no | |
flex-basis
|
as length, percentage, or calc(); | |
flex-direction
|
no | |
flex-flow
|
no | |
flex (see longhand)
|
||
flex-grow
|
as number | |
flex-shrink
|
as number | |
flex-basis:
|
as length, percentage, or calc(); | |
flex-wrap
|
no | |
justify-content
|
no | |
order
|
as integer | |
| Background and borders | ||
background
|
||
background-color:
|
as color | |
background-image:
|
no | |
background-clip:
|
no | |
background-position:
|
as list of length, percentage, or calc | |
background-size:
|
as list of length, percentage, or calc | |
background-repeat:
|
no | |
background-attachment
|
no | |
abackground-origin
|
no | |
| Borders | ||
border (see longhand)
|
||
border-color
|
as color | |
border-style
|
no | |
border-width
|
as length | |
border-radius
|
as length, percentage, or calc(); | |
border-image
|
no (see longhand) | |
border-image-outset
|
no | |
border-image-repeat
|
no | |
border-image-slice
|
no | |
border-image-source
|
no | |
border-image-width
|
no | |
| Box model | ||
box-decoration-break
|
no | |
box-shadow
|
as shadow list | |
margin
|
as length | |
padding
|
as length | |
box-sizing
|
no | |
max-height
|
as length, percentage, or calc(); | |
min-height
|
as length, percentage, or calc(); | |
height
|
as length, percentage, or calc(); | |
max-width
|
as length, percentage, or calc(); | |
min-width
|
as length, percentage, or calc(); | |
width
|
as length, percentage, or calc(); | |
overflow
|
no | |
visibility
|
as visibility (see “How Property Values Are Interpolated”) | |
| Table | ||
border-collapse
|
no | |
border-spacing
|
no | |
caption-side
|
no | |
empty-cells
|
no | |
table-layout
|
no | |
vertical-align
|
as length | |
| Positioning | ||
bottom
|
as length, percentage, or calc(); | |
left
|
as length, percentage, or calc(); | |
right
|
as length, percentage, or calc(); | |
top
|
as length, percentage, or calc(); | |
float
|
no | |
clear
|
no | |
position
|
no | |
z-index
|
as integer | |
| Fonts | ||
font (see longhand)
|
||
font-style
|
no | |
font-variant
|
no | |
font-weight
|
as font weight | |
font-stretch
|
as font stretch | |
font-size
|
as length | |
line-height
|
as number, length | |
font-family
|
no | |
font-variant-ligatures
|
no | |
font-feature-settings
|
no | |
font-language-override
|
no | |
font-size-adjust
|
as number | |
font-synthesis
|
no | |
font-kerning
|
no | |
font-variant-position
|
no | |
font-variant-caps
|
no | |
font-variant-numeric
|
no | |
font-variant-east-asian
|
no | |
font-variant-alternates
|
no | |
| Images | ||
object-fit
|
no | |
object-position
|
as length, percentage, or calc(); | |
image-rendering
|
no | |
image-orientation
|
no | |
| Counters, lists, and generated content | ||
content
|
no | |
quotes
|
no | |
counter-increment
|
no | |
counter-reset
|
no | |
list-style
|
no | |
list-style-image
|
no | |
list-style-position
|
no | |
list-style-type
|
no | |
| Page | ||
orphans
|
no | |
page-break-after
|
no | |
page-break-before
|
no | |
page-break-inside
|
no | |
widows
|
no | |
| User interface | ||
outline (see longhand)
|
||
outline-color
|
as color | |
outline-width
|
as length | |
outline-style
|
no | |
outline-offset
|
as length | |
cursor
|
no | |
resize
|
no | |
text-overflow
|
no | |
| Animations | ||
animation
|
no (see longhands) | |
animation-delay
|
no | |
animation-direction
|
no | |
animation-duration
|
no | |
animation-fill-mode
|
no | |
animation-iteration-count
|
no | |
animation-name
|
no | |
animation-play-state
|
no | |
animation-timing-function
|
no, though animation-timing-function can be included in keyframes
|
|
| Transitions | ||
transition
|
no (see longhands) | |
transition-delay
|
no | |
transition-duration
|
no | |
transition-property
|
no | |
transition-timing-function
|
no | |
| Transform properties | ||
transform
|
as transform (see Transforms in CSS [O’Reilly]) | |
transform-origin
|
as length, percentage or calc(); | |
transform-style
|
no | |
perspective
|
as length | |
perspective-origin
|
as simple list of a length, percentage or calc(); | |
backface-visibility
|
no | |
| Compositing and blending | ||
background-blend-mode
|
no | |
mix-blend-mode
|
no | |
isolation
|
no | |
| Shapes | ||
shape-outside
|
yes, as basic-shape
|
|
shape-margin
|
as length, percentage, or calc(); | |
shape-image-threshold
|
as number | |
| Miscellaneous | ||
clip (deprecated)
|
as rectangle | |
display
|
no | |
unicode-bidi
|
no | |
text-orientation
|
no | |
ime-mode
|
no | |
all |
as each of the properties of the shorthand (all properties but unicode-bidi and direction)
|
|
will-change
|
no | |
box-decoration-break
|
no | |
touch-action
|
no | |
initial-letter
|
no | |
initial-letter-align
|
no | |
Note that in addition to the options shown in the “Value Syntax” column of this appendix, all properties listed also accept the following global values: inherit, initial, and unset. They may in the future accept revert as well. These global values are not shown in the table for brevity and clarity.
Where a “P” is indicated for whether an element is animatable (the “Anim.” column), that means some but not all aspects of the property’s value can be animated.
| Property | Default value | Value syntax | Inh. | Anim. |
|---|---|---|---|---|
|
|
|
N |
N |
|
|
|
N |
N |
|
|
|
N |
N |
|
See individual properties |
|
N |
N |
|
|
[ <animation-name> ‖ <animation-duration> ‖ <animation-timing-function> ‖ <animation-delay> ‖ <animation-iteration-count> ‖ <animation-direction> ‖ <animation-fill-mode> ‖ <animation-play-state> ]# |
N |
N |
|
|
<time># |
N |
N |
|
|
[ |
N |
N |
|
|
<time># |
N |
N |
|
|
[ |
N |
N |
|
|
<number> | |
N |
N |
|
|
[ <single-animation-name> | |
N |
N |
|
|
[ |
N |
N |
|
|
[ |
N |
N |
|
|
|
N |
N |
|
See individual properties |
[ <bg-image> ‖ <position> [ / <bg-size> ]? ‖ <repeat-style> ‖ <attachment> ‖ <box> ‖ <box> , ]* <bg-image> ‖ <position> [ / <bg-size> ]? ‖ <repeat-style> ‖ <attachment> ‖ <box> ‖ <box> ‖ <background-color> |
N |
P |
|
|
[ |
N |
N |
|
|
[ |
N |
N |
|
|
[ |
N |
N |
|
|
<color> |
N |
Y |
|
|
[ <image># | |
N |
N |
|
|
[ |
N |
N |
|
|
[ [ |
N |
Y |
|
|
[ |
N |
N |
|
|
[ <length> | <percentage> | |
N |
Y |
|
See individual properties |
[ <border-width> ‖ <border-style> ‖ <border-color> ] |
N |
P |
|
See individiual properties |
[ <border-width> ‖ <border-style> ‖ <border-color> ] |
N |
P |
|
|
<color> |
N |
Y |
|
|
|
N |
N |
|
|
|
N |
Y |
|
|
<color>{1,4} |
N |
Y |
|
See individual properties |
<border-image-source> ‖ <border-image-slice> [ / <border-image-width> | / <border-image-width>? / <border-image-outset> ]? ‖ <border-image-repeat> |
N |
N |
|
|
[ <length> | <number> ]{1,4} |
N |
Y |
|
|
[ |
N |
N |
|
|
[ <number> | <percentage> ]{1,4} && |
N |
Y |
|
|
|
N |
N |
|
|
[ <length> | <percentage> | <number> | |
N |
Y |
|
See individiual properties |
[ <border-width> ‖ <border-style> ‖ <border-color> ] |
N |
P |
|
|
<color> |
N |
Y |
|
|
|
N |
N |
|
|
|
N |
Y |
|
|
[ <length> | <percentage> ]{1,4} [ / [ <length> | <percentage> ]{1,4} ]? |
N |
Y |
|
|
[ <length> | <percentage> ]{1,2} |
N |
Y |
|
|
[ <length> | <percentage> ]{1,2} |
N |
Y |
|
|
[ <length> | <percentage> ]{1,2} |
N |
Y |
|
|
[ <length> | <percentage> ]{1,2} |
N |
Y |
|
See individiual properties |
[ <border-width> ‖ <border-style> ‖ <border-color> ] |
N |
P |
|
|
<color> |
N |
Y |
|
|
|
N |
N |
|
|
|
N |
Y |
|
|
<length> <length>? |
Y |
Y |
|
Not defined |
[ |
N |
N |
|
See individiual properties |
[ <border-width> ‖ <border-style> ‖ <border-color> ] |
N |
P |
|
|
<color> |
N |
Y |
|
|
|
N |
N |
|
|
|
N |
Y |
|
Not defined |
[ |
N |
Y |
|
|
<length> | <percentage> | |
N |
Y |
|
|
|
N |
N |
|
|
|
N |
Y |
|
|
|
N |
N |
|
|
|
Y |
N |
|
|
|
N |
N |
|
|
|
N |
P |
|
|
|
N |
N |
|
User agent specific |
<color> |
Y |
Y |
|
|
|
N |
N |
|
User agent specific |
[<identifier> <integer>? ]+ | |
N |
N |
|
User agent specific |
[<identifier> <integer>? ]+ | |
N |
N |
|
|
|
Y |
Y |
|
|
[ <display-outside> ‖ <display-inside> ] | <display-listitem> | <display-internal> | <display-box> | <display-legacy> |
N |
N |
|
|
|
Y |
N |
|
|
[ |
N |
Y |
|
|
|
N |
N |
|
|
|
N |
P |
|
|
|
N |
N |
|
|
<flex-direction> ‖ <flex-wrap> |
N |
N |
|
|
<number> |
N |
Y |
|
|
<number> |
N |
Y |
|
|
|
N |
N |
|
|
|
N |
N |
|
See individual properties |
[[ <font-style> ‖ [ |
Y |
P |
|
User agent-specific |
[ <family-name> | <generic-family> ]# |
Y |
N |
|
|
|
Y |
N |
|
|
|
Y |
N |
|
|
<number> | |
Y |
Y |
|
|
|
Y |
P |
|
|
|
Y |
N |
|
|
|
Y |
N |
|
|
|
Y |
N |
|
|
|
Y |
N |
|
|
|
Y |
N |
|
See individual properties |
|
N |
N |
|
See individual properties |
<grid-line> [ / <grid-line> ]{0,3} |
N |
N |
|
|
<track-breadth> | |
N |
N |
|
|
[ |
N |
N |
|
|
<track-breadth> | |
N |
N |
|
|
|
N |
N |
|
|
<length> | <percentage> |
N |
Y |
|
|
|
N |
N |
|
|
<grid-line> [ / <grid-line> ]? |
N |
N |
|
|
<grid-row-gap> <grid-column-gap> |
N |
Y |
|
|
|
N |
N |
|
|
<length>_ | <percentage> |
N |
Y |
|
|
|
N |
N |
|
|
<grid-line> [ / <grid-line> ]? |
N |
N |
|
|
|
N |
N |
|
|
|
N |
N |
|
|
|
N |
N |
|
|
<length> | <percentage> | |
N |
Y |
|
|
|
Y |
N |
|
|
|
N |
N |
|
|
|
N |
N |
|
|
<length> | <percentage> | |
N |
Y |
|
|
<length> | |
Y |
Y |
|
|
|
Y |
Y |
|
|
<number> | <length> | <percentage> | |
Y |
Y |
|
<list-style-type> ‖ <list-style-image> ‖ <list-style-position> |
See individual properties |
Y |
N |
|
<uri> | <image> | |
|
N |
N |
|
|
|
Y |
N |
|
|
|
Y |
N |
|
Not defined |
[ <length> | <percentage> | |
N |
Y |
|
|
<length> | <percentage> | |
N |
Y |
|
|
<length> | <percentage> | |
N |
Y |
|
|
<length> | <percentage> | |
N |
Y |
|
|
<length> | <percentage> | |
N |
Y |
|
See individual properties |
[ <mask-image> ‖ <mask-position> [ / <mask-size> ]? ‖ <mask-repeat> ‖ <mask-clip> ‖ <mask-origin> ‖ <mask-composite> ‖ <mask-mode> ]# |
N |
P |
|
|
[ |
N |
N |
|
|
[ |
N |
N |
|
|
[ |
N |
N |
|
|
[ |
N |
N |
|
|
[ |
N |
N |
|
|
<position># a |
N |
P |
|
|
[ |
N |
Y |
|
|
[ [ <length> | <percentage> | |
N |
P |
|
|
|
N |
N |
|
|
<length> | <percentage> | |
N |
Y |
|
|
<length> | <percentage> | |
N |
Y |
|
|
<length> | <percentage> |
N |
Y |
|
|
<length> | <percentage> |
N |
Y |
|
|
|
N |
N |
|
|
|
N |
N |
|
|
<position> b |
N |
N |
|
<number> |
|
N |
Y |
|
|
<integer> |
N |
Y |
|
|
<integer> |
N |
N |
|
|
[ <outline-color> ‖ <outline-style> ‖ <outline-width> ] |
N |
P |
|
|
<color> | |
N |
Y |
|
|
|
N |
N |
|
|
<length> | |
N |
Y |
|
|
|
Y |
Y |
|
|
|
N |
N |
|
Not defined |
[ <length> | <percentage> ]{1,4} |
N |
Y |
|
|
<length> | <percentage> |
N |
Y |
|
|
<length> | <percentage> |
N |
Y |
|
|
<length> | <percentage> |
N |
Y |
|
|
<length> | <percentage> |
N |
Y |
|
|
<identifier> | |
N |
N |
|
|
|
N |
N |
|
|
|
N |
N |
|
|
|
N |
N |
|
|
<position> d |
N |
Y |
|
|
|
N |
Y |
|
|
|
N |
N |
|
[ <string> <string> ]+ | |
User agent specific |
Y |
N |
|
|
<length> | <percentage> | |
N |
Y |
|
|
<number> |
N |
Y |
|
|
<length> | <percentage> |
N |
Y |
|
|
|
N |
P |
|
|
|
N |
N |
|
|
<length> | <integer> |
Y |
Y |
|
|
|
Y |
N |
|
|
|
Y |
N |
|
|
|
Y |
N |
|
|
|
N |
N |
|
|
<length> | <percentage> |
Y |
Y |
|
|
|
Y |
Y |
|
|
|
Y |
Y |
|
|
|
N |
Y |
|
|
|
Y |
N |
|
|
<length> | <percentage> | |
N |
Y |
|
|
<transform-list> | |
N |
Y |
|
|
<position> e |
N |
Y |
|
|
|
N |
N |
|
|
[ [ |
N |
N |
|
|
<time># |
N |
N |
|
|
<time># |
N |
N |
|
|
|
N |
N |
|
|
<timing-function># f |
N |
N |
|
|
|
N |
Y |
|
|
|
N |
P |
|
|
|
Y |
N |
|
|
|
N |
N |
|
|
<integer> |
N |
N |
|
|
<length> | <percentage> | |
N |
Y |
|
|
|
Y |
Y |
|
|
<length> | |
Y |
Y |
|
|
|
Y |
Y |
|
|
<integer> | |
N |
Y |
a See b See c This property used to be called d See e See f See | ||||
All 148 color names defined by the CSS Color Module Level 4 (as of the 22 May 2017 version), along with their equivalents in both styles of RGB, HSL, hexadecimal, and three-digit hex shorthand (when applicable).
As of late 2017, there were several new color notations being considered, such as hwb(), gray(), lab(), lch(), and more. These color types are not included in this table due to their lack of support and uncertain future.
| Color name | RGB decimal | RGB percentage | HSL | Hexadecimal |
|---|---|---|---|---|
aliceblue
|
rgb(240,248,255)
|
rgb(94.1%,97.3%,100%)
|
hsl(208,100%,97.1%)
|
#F0F8FF
|
antiquewhite
|
rgb(250,235,215)
|
rgb(98%,92.2%,84.3%)
|
hsl(34,77.8%,91.2%)
|
#FAEBD7
|
aqua
|
rgb(0,255,255)
|
rgb(0%,100%,100%)
|
hsl(180,100%,50%)
|
#00FFFF/#0FF
|
aquamarine
|
rgb(127,255,212)
|
rgb(49.8%,100%,83.1%)
|
hsl(160,100%,74.9%)
|
#7FFFD4
|
azure
|
rgb(240,255,255)
|
rgb(94.1%,100%,100%)
|
hsl(180,100%,97.1%)
|
#F0FFFF
|
beige
|
rgb(245,245,220)
|
rgb(96.1%,96.1%,86.3%)
|
hsl(60,55.6%,91.2%)
|
#F5F5DC
|
bisque
|
rgb(255,228,196)
|
rgb(100%,89.4%,76.9%)
|
hsl(33,100%,88.4%)
|
#FFE4C4
|
black
|
rgb(0,0,0)
|
rgb(0%,0%,0%)
|
hsl(0,0%,0%)
|
#000000/#000
|
blanchedalmond
|
rgb(255,235,205)
|
rgb(100%,92.2%,80.4%)
|
hsl(36,100%,90.2%)
|
#FFEBCD
|
blue
|
rgb(0,0,255)
|
rgb(0%,0%,100%)
|
hsl(240,100%,50%)
|
#0000FF/#00F
|
blueviolet
|
rgb(138,43,226)
|
rgb(54.1%,16.9%,88.6%)
|
hsl(271,75.9%,52.7%)
|
#8A2BE2
|
brown
|
rgb(165,42,42)
|
rgb(64.7%,16.5%,16.5%)
|
hsl(0,59.4%,40.6%)
|
#A52A2A
|
burlywood
|
rgb(222,184,135)
|
rgb(87.1%,72.2%,52.9%)
|
hsl(34,56.9%,70%)
|
#DEB887
|
cadetblue
|
rgb(95,158,160)
|
rgb(37.3%,62%,62.7%)
|
hsl(182,25.5%,50%)
|
#5F9EA0
|
chartreuse
|
rgb(127,255,0)
|
rgb(49.8%,100%,0%)
|
hsl(90,100%,50%)
|
#7FFF00
|
chocolate
|
rgb(210,105,30)
|
rgb(82.4%,41.2%,11.8%)
|
hsl(25,75%,47.1%)
|
#D2691E
|
coral
|
rgb(255,127,80)
|
rgb(100%,49.8%,31.4%)
|
hsl(16,100%,65.7%)
|
#FF7F50
|
cornflowerblue
|
rgb(100,149,237)
|
rgb(39.2%,58.4%,92.9%)
|
hsl(219,79.2%,66.1%)
|
#6495ED
|
cornsilk
|
rgb(255,248,220)
|
rgb(100%,97.3%,86.3%)
|
hsl(48,100%,93.1%)
|
#FFF8DC
|
crimson
|
rgb(220,20,60)
|
rgb(86.3%,7.8%,23.5%)
|
hsl(348,83.3%,47.1%)
|
#DC143C
|
cyan
|
rgb(0,255,255)
|
rgb(0%,100%,100%)
|
hsl(180,100%,50%)
|
#00FFFF/#0FF
|
darkblue
|
rgb(0,0,139)
|
rgb(0%,0%,54.5%)
|
hsl(240,100%,27.3%)
|
#00008B
|
darkcyan
|
rgb(0,139,139)
|
rgb(0%,54.5%,54.5%)
|
hsl(180,100%,27.3%)
|
#008B8B
|
darkgoldenrod
|
rgb(184,134,11)
|
rgb(72.2%,52.5%,4.3%)
|
hsl(43,88.7%,38.2%)
|
#B8860B
|
darkgray
|
rgb(169,169,169)
|
rgb(66.3%,66.3%,66.3%)
|
hsl(0,0%,66.3%)
|
#A9A9A9
|
darkgreen
|
rgb(0,100,0)
|
rgb(0%,39.2%,0%)
|
hsl(120,100%,19.6%)
|
#006400
|
darkgrey
|
rgb(169,169,169)
|
rgb(66.3%,66.3%,66.3%)
|
hsl(0,0%,66.3%)
|
#A9A9A9
|
darkkhaki
|
rgb(189,183,107)
|
rgb(74.1%,71.8%,42%)
|
hsl(56,38.3%,58%)
|
#BDB76B
|
darkmagenta
|
rgb(139,0,139)
|
rgb(54.5%,0%,54.5%)
|
hsl(300,100%,27.3%)
|
#8B008B
|
darkolivegreen
|
rgb(85,107,47)
|
rgb(33.3%,42%,18.4%)
|
hsl(82,39%,30.2%)
|
#556B2F
|
darkorange
|
rgb(255,140,0)
|
rgb(100%,54.9%,0%)
|
hsl(33,100%,50%)
|
#FF8C00
|
darkorchid
|
rgb(153,50,204)
|
rgb(60%,19.6%,80%)
|
hsl(280,60.6%,49.8%)
|
#9932CC
|
darkred
|
rgb(139,0,0)
|
rgb(54.5%,0%,0%)
|
hsl(0,100%,27.3%)
|
#8B0000
|
darksalmon
|
rgb(233,150,122)
|
rgb(91.4%,58.8%,47.8%)
|
hsl(15,71.6%,69.6%)
|
#E9967A
|
darkseagreen
|
rgb(143,188,143)
|
rgb(56.1%,73.7%,56.1%)
|
hsl(120,25.1%,64.9%)
|
#8FBC8F
|
darkslateblue
|
rgb(72,61,139)
|
rgb(28.2%,23.9%,54.5%)
|
hsl(248,39%,39.2%)
|
#483D8B
|
darkslategray
|
rgb(47,79,79)
|
rgb(18.4%,31%,31%)
|
hsl(180,25.4%,24.7%)
|
#2F4F4F
|
darkslategrey
|
rgb(47,79,79)
|
rgb(18.4%,31%,31%)
|
hsl(180,25.4%,24.7%)
|
#2F4F4F
|
darkturquoise
|
rgb(0,206,209)
|
rgb(0%,80.8%,82%)
|
hsl(181,100%,41%)
|
#00CED1
|
darkviolet
|
rgb(148,0,211)
|
rgb(58%,0%,82.7%)
|
hsl(282,100%,41.4%)
|
#9400D3
|
deeppink
|
rgb(255,20,147)
|
rgb(100%,7.8%,57.6%)
|
hsl(328,100%,53.9%)
|
#FF1493
|
deepskyblue
|
rgb(0,191,255)
|
rgb(0%,74.9%,100%)
|
hsl(195,100%,50%)
|
#00BFFF
|
dimgray
|
rgb(105,105,105)
|
rgb(41.2%,41.2%,41.2%)
|
hsl(0,0%,41.2%)
|
#696969
|
dimgrey
|
rgb(105,105,105)
|
rgb(41.2%,41.2%,41.2%)
|
hsl(0,0%,41.2%)
|
#696969
|
dodgerblue
|
rgb(30,144,255)
|
rgb(11.8%,56.5%,100%)
|
hsl(210,100%,55.9%)
|
#1E90FF
|
firebrick
|
rgb(178,34,34)
|
rgb(69.8%,13.3%,13.3%)
|
hsl(0,67.9%,41.6%)
|
#B22222
|
floralwhite
|
rgb(255,250,240)
|
rgb(100%,98%,94.1%)
|
hsl(40,100%,97.1%)
|
#FFFAF0
|
forestgreen
|
rgb(34,139,34)
|
rgb(13.3%,54.5%,13.3%)
|
hsl(120,60.7%,33.9%)
|
#228B22
|
fuchsia
|
rgb(255,0,255)
|
rgb(100%,0%,100%)
|
hsl(300,100%,50%)
|
#FF00FF/#F0F
|
gainsboro
|
rgb(220,220,220)
|
rgb(86.3%,86.3%,86.3%)
|
hsl(0,0%,86.3%)
|
#DCDCDC
|
ghostwhite
|
rgb(248,248,255)
|
rgb(97.3%,97.3%,100%)
|
hsl(240,100%,98.6%)
|
#F8F8FF
|
gold
|
rgb(255,215,0)
|
rgb(100%,84.3%,0%)
|
hsl(51,100%,50%)
|
#FFD700
|
goldenrod
|
rgb(218,165,32)
|
rgb(85.5%,64.7%,12.5%)
|
hsl(43,74.4%,49%)
|
#DAA520
|
gray
|
rgb(128,128,128)
|
rgb(50.2%,50.2%,50.2%)
|
hsl(0,0%,50.2%)
|
#808080
|
green
|
rgb(0,128,0)
|
rgb(0%,50.2%,0%)
|
hsl(120,100%,25.1%)
|
#008000
|
greenyellow
|
rgb(173,255,47)
|
rgb(67.8%,100%,18.4%)
|
hsl(84,100%,59.2%)
|
#ADFF2F
|
grey
|
rgb(128,128,128)
|
rgb(50.2%,50.2%,50.2%)
|
hsl(0,0%,50.2%)
|
#808080
|
honeydew
|
rgb(240,255,240)
|
rgb(94.1%,100%,94.1%)
|
hsl(120,100%,97.1%)
|
#F0FFF0
|
hotpink
|
rgb(255,105,180)
|
rgb(100%,41.2%,70.6%)
|
hsl(330,100%,70.6%)
|
#FF69B4
|
indianred
|
rgb(205,92,92)
|
rgb(80.4%,36.1%,36.1%)
|
hsl(0,53.1%,58.2%)
|
#CD5C5C
|
indigo
|
rgb(75,0,130)
|
rgb(29.4%,0%,51%)
|
hsl(275,100%,25.5%)
|
#4B0082
|
ivory
|
rgb(255,255,240)
|
rgb(100%,100%,94.1%)
|
hsl(60,100%,97.1%)
|
#FFFFF0
|
khaki
|
rgb(240,230,140)
|
rgb(94.1%,90.2%,54.9%)
|
hsl(54,76.9%,74.5%)
|
#F0E68C
|
lavender
|
rgb(230,230,250)
|
rgb(90.2%,90.2%,98%)
|
hsl(240,66.7%,94.1%)
|
#E6E6FA
|
lavenderblush
|
rgb(255,240,245)
|
rgb(100%,94.1%,96.1%)
|
hsl(340,100%,97.1%)
|
#FFF0F5
|
lawngreen
|
rgb(124,252,0)
|
rgb(48.6%,98.8%,0%)
|
hsl(90,100%,49.4%)
|
#7CFC00
|
lemonchiffon
|
rgb(255,250,205)
|
rgb(100%,98%,80.4%)
|
hsl(54,100%,90.2%)
|
#FFFACD
|
lightblue
|
rgb(173,216,230)
|
rgb(67.8%,84.7%,90.2%)
|
hsl(195,53.3%,79%)
|
#ADD8E6
|
lightcoral
|
rgb(240,128,128)
|
rgb(94.1%,50.2%,50.2%)
|
hsl(0,78.9%,72.2%)
|
#F08080
|
lightcyan
|
rgb(224,255,255)
|
rgb(87.8%,100%,100%)
|
hsl(180,100%,93.9%)
|
#E0FFFF
|
lightgoldenrodyellow
|
rgb(250,250,210)
|
rgb(98%,98%,82.4%)
|
hsl(60,80%,90.2%)
|
#FAFAD2
|
lightgray
|
rgb(211,211,211)
|
rgb(82.7%,82.7%,82.7%)
|
hsl(0,0%,82.7%)
|
#D3D3D3
|
lightgreen
|
rgb(144,238,144)
|
rgb(56.5%,93.3%,56.5%)
|
hsl(120,73.4%,74.9%)
|
#90EE90
|
lightgrey
|
rgb(211,211,211)
|
rgb(82.7%,82.7%,82.7%)
|
hsl(0,0%,82.7%)
|
#D3D3D3
|
lightpink
|
rgb(255,182,193)
|
rgb(100%,71.4%,75.7%)
|
hsl(351,100%,85.7%)
|
#FFB6C1
|
lightsalmon
|
rgb(255,160,122)
|
rgb(100%,62.7%,47.8%)
|
hsl(17,100%,73.9%)
|
#FFA07A
|
lightseagreen
|
rgb(32,178,170)
|
rgb(12.5%,69.8%,66.7%)
|
hsl(177,69.5%,41.2%)
|
#20B2AA
|
lightskyblue
|
rgb(135,206,250)
|
rgb(52.9%,80.8%,98%)
|
hsl(203,92%,75.5%)
|
#87CEFA
|
lightslategray
|
rgb(119,136,153)
|
rgb(46.7%,53.3%,60%)
|
hsl(210,14.3%,53.3%)
|
#778899/#789
|
lightslategrey
|
rgb(119,136,153)
|
rgb(46.7%,53.3%,60%)
|
hsl(210,14.3%,53.3%)
|
#778899/#789
|
lightsteelblue
|
rgb(176,196,222)
|
rgb(69%,76.9%,87.1%)
|
hsl(214,41.1%,78%)
|
#B0C4DE
|
lightyellow
|
rgb(255,255,224)
|
rgb(100%,100%,87.8%)
|
hsl(60,100%,93.9%)
|
#FFFFE0
|
lime
|
rgb(0,255,0)
|
rgb(0%,100%,0%)
|
hsl(120,100%,50%)
|
#00FF00/#0F0
|
limegreen
|
rgb(50,205,50)
|
rgb(19.6%,80.4%,19.6%)
|
hsl(120,60.8%,50%)
|
#32CD32
|
linen
|
rgb(250,240,230)
|
rgb(98%,94.1%,90.2%)
|
hsl(30,66.7%,94.1%)
|
#FAF0E6
|
magenta
|
rgb(255,0,255)
|
rgb(100%,0%,100%)
|
hsl(300,100%,50%)
|
#FF00FF/#F0F
|
maroon
|
rgb(128,0,0)
|
rgb(50.2%,0%,0%)
|
hsl(0,100%,25.1%)
|
#800000
|
mediumaquamarine
|
rgb(102,205,170)
|
rgb(40%,80.4%,66.7%)
|
hsl(160,50.7%,60.2%)
|
#66CDAA
|
mediumblue
|
rgb(0,0,205)
|
rgb(0%,0%,80.4%)
|
hsl(240,100%,40.2%)
|
#0000CD
|
mediumorchid
|
rgb(186,85,211)
|
rgb(72.9%,33.3%,82.7%)
|
hsl(288,58.9%,58%)
|
#BA55D3
|
mediumpurple
|
rgb(147,112,219)
|
rgb(57.6%,43.9%,85.9%)
|
hsl(260,59.8%,64.9%)
|
#9370DB
|
mediumseagreen
|
rgb(60,179,113)
|
rgb(23.5%,70.2%,44.3%)
|
hsl(147,49.8%,46.9%)
|
#3CB371
|
mediumslateblue
|
rgb(123,104,238)
|
rgb(48.2%,40.8%,93.3%)
|
hsl(249,79.8%,67.1%)
|
#7B68EE
|
mediumspringgreen
|
rgb(0,250,154)
|
rgb(0%,98%,60.4%)
|
hsl(157,100%,49%)
|
#00FA9A
|
mediumturquoise
|
rgb(72,209,204)
|
rgb(28.2%,82%,80%)
|
hsl(178,59.8%,55.1%)
|
#48D1CC
|
mediumvioletred
|
rgb(199,21,133)
|
rgb(78%,8.2%,52.2%)
|
hsl(322,80.9%,43.1%)
|
#C71585
|
midnightblue
|
rgb(25,25,112)
|
rgb(9.8%,9.8%,43.9%)
|
hsl(240,63.5%,26.9%)
|
#191970
|
mintcream
|
rgb(245,255,250)
|
rgb(96.1%,100%,98%)
|
hsl(150,100%,98%)
|
#F5FFFA
|
mistyrose
|
rgb(255,228,225)
|
rgb(100%,89.4%,88.2%)
|
hsl(6,100%,94.1%)
|
#FFE4E1
|
moccasin
|
rgb(255,228,181)
|
rgb(100%,89.4%,71%)
|
hsl(38,100%,85.5%)
|
#FFE4B5
|
navajowhite
|
rgb(255,222,173)
|
rgb(100%,87.1%,67.8%)
|
hsl(36,100%,83.9%)
|
#FFDEAD
|
navy
|
rgb(0,0,128)
|
rgb(0%,0%,50.2%)
|
hsl(240,100%,25.1%)
|
#000080
|
oldlace
|
rgb(253,245,230)
|
rgb(99.2%,96.1%,90.2%)
|
hsl(39,85.2%,94.7%)
|
#FDF5E6
|
olive
|
rgb(128,128,0)
|
rgb(50.2%,50.2%,0%)
|
hsl(60,100%,25.1%)
|
#808000
|
olivedrab
|
rgb(107,142,35)
|
rgb(42%,55.7%,13.7%)
|
hsl(80,60.5%,34.7%)
|
#6B8E23
|
orange
|
rgb(255,165,0)
|
rgb(100%,64.7%,0%)
|
hsl(39,100%,50%)
|
#FFA500
|
orangered
|
rgb(255,69,0)
|
rgb(100%,27.1%,0%)
|
hsl(16,100%,50%)
|
#FF4500
|
orchid
|
rgb(218,112,214)
|
rgb(85.5%,43.9%,83.9%)
|
hsl(302,58.9%,64.7%)
|
#DA70D6
|
palegoldenrod
|
rgb(238,232,170)
|
rgb(93.3%,91%,66.7%)
|
hsl(55,66.7%,80%)
|
#EEE8AA
|
palegreen
|
rgb(152,251,152)
|
rgb(59.6%,98.4%,59.6%)
|
hsl(120,92.5%,79%)
|
#98FB98
|
paleturquoise
|
rgb(175,238,238)
|
rgb(68.6%,93.3%,93.3%)
|
hsl(180,64.9%,81%)
|
#AFEEEE
|
palevioletred
|
rgb(219,112,147)
|
rgb(85.9%,43.9%,57.6%)
|
hsl(340,59.8%,64.9%)
|
#DB7093
|
papayawhip
|
rgb(255,239,213)
|
rgb(100%,93.7%,83.5%)
|
hsl(37,100%,91.8%)
|
#FFEFD5
|
peachpuff
|
rgb(255,218,185)
|
rgb(100%,85.5%,72.5%)
|
hsl(28,100%,86.3%)
|
#FFDAB9
|
peru
|
rgb(205,133,63)
|
rgb(80.4%,52.2%,24.7%)
|
hsl(30,58.7%,52.5%)
|
#CD853F
|
pink
|
rgb(255,192,203)
|
rgb(100%,75.3%,79.6%)
|
hsl(350,100%,87.6%)
|
#FFC0CB
|
plum
|
rgb(221,160,221)
|
rgb(86.7%,62.7%,86.7%)
|
hsl(300,47.3%,74.7%)
|
#DDA0DD
|
powderblue
|
rgb(176,224,230)
|
rgb(69%,87.8%,90.2%)
|
hsl(187,51.9%,79.6%)
|
#B0E0E6
|
purple
|
rgb(128,0,128)
|
rgb(50.2%,0%,50.2%)
|
hsl(300,100%,25.1%)
|
#800080
|
rebeccapurple
|
rgb(102,51,153)
|
rgb(40%,20%,60%)
|
hsl(270,50%,40%)
|
#663399/#639
|
red
|
rgb(255,0,0)
|
rgb(100%,0%,0%)
|
hsl(0,100%,50%)
|
#FF0000/#F00
|
rosybrown
|
rgb(188,143,143)
|
rgb(73.7%,56.1%,56.1%)
|
hsl(0,25.1%,64.9%)
|
#BC8F8F
|
royalblue
|
rgb(65,105,225)
|
rgb(25.5%,41.2%,88.2%)
|
hsl(225,72.7%,56.9%)
|
#4169E1
|
saddlebrown
|
rgb(139,69,19)
|
rgb(54.5%,27.1%,7.5%)
|
hsl(25,75.9%,31%)
|
#8B4513
|
salmon
|
rgb(250,128,114)
|
rgb(98%,50.2%,44.7%)
|
hsl(6,93.2%,71.4%)
|
#FA8072
|
sandybrown
|
rgb(244,164,96)
|
rgb(95.7%,64.3%,37.6%)
|
hsl(28,87.1%,66.7%)
|
#F4A460
|
seagreen
|
rgb(46,139,87)
|
rgb(18%,54.5%,34.1%)
|
hsl(146,50.3%,36.3%)
|
#2E8B57
|
seashell
|
rgb(255,245,238)
|
rgb(100%,96.1%,93.3%)
|
hsl(25,100%,96.7%)
|
#FFF5EE
|
sienna
|
rgb(160,82,45)
|
rgb(62.7%,32.2%,17.6%)
|
hsl(19,56.1%,40.2%)
|
#A0522D
|
silver
|
rgb(192,192,192)
|
rgb(75.3%,75.3%,75.3%)
|
hsl(0,0%,75.3%)
|
#C0C0C0
|
skyblue
|
rgb(135,206,235)
|
rgb(52.9%,80.8%,92.2%)
|
hsl(197,71.4%,72.5%)
|
#87CEEB
|
slateblue
|
rgb(106,90,205)
|
rgb(41.6%,35.3%,80.4%)
|
hsl(248,53.5%,57.8%)
|
#6A5ACD
|
slategray
|
rgb(112,128,144)
|
rgb(43.9%,50.2%,56.5%)
|
hsl(210,12.6%,50.2%)
|
#708090
|
slategrey
|
rgb(112,128,144)
|
rgb(43.9%,50.2%,56.5%)
|
hsl(210,12.6%,50.2%)
|
#708090
|
snow
|
rgb(255,250,250)
|
rgb(100%,98%,98%)
|
hsl(0,100%,99%)
|
#FFFAFA
|
springgreen
|
rgb(0,255,127)
|
rgb(0%,100%,49.8%)
|
hsl(150,100%,50%)
|
#00FF7F
|
steelblue
|
rgb(70,130,180)
|
rgb(27.5%,51%,70.6%)
|
hsl(207,44%,49%)
|
#4682B4
|
tan
|
rgb(210,180,140)
|
rgb(82.4%,70.6%,54.9%)
|
hsl(34,43.8%,68.6%)
|
#D2B48C
|
teal
|
rgb(0,128,128)
|
rgb(0%,50.2%,50.2%)
|
hsl(180,100%,25.1%)
|
#008080
|
thistle
|
rgb(216,191,216)
|
rgb(84.7%,74.9%,84.7%)
|
hsl(300,24.3%,79.8%)
|
#D8BFD8
|
tomato
|
rgb(255,99,71)
|
rgb(100%,38.8%,27.8%)
|
hsl(9,100%,63.9%)
|
#FF6347
|
turquoise
|
rgb(64,224,208)
|
rgb(25.1%,87.8%,81.6%)
|
hsl(174,72.1%,56.5%)
|
#40E0D0
|
violet
|
rgb(238,130,238)
|
rgb(93.3%,51%,93.3%)
|
hsl(300,76.1%,72.2%)
|
#EE82EE
|
wheat
|
rgb(245,222,179)
|
rgb(96.1%,87.1%,70.2%)
|
hsl(39,76.7%,83.1%)
|
#F5DEB3
|
white
|
rgb(255,255,255)
|
rgb(100%,100%,100%)
|
hsl(0,0%,100%)
|
#FFFFFF/#FFF
|
whitesmoke
|
rgb(245,245,245)
|
rgb(96.1%,96.1%,96.1%)
|
hsl(0,0%,96.1%)
|
#F5F5F5
|
yellow
|
rgb(255,255,0)
|
rgb(100%,100%,0%)
|
hsl(60,100%,50%)
|
#FFFF00/#FF0
|
yellowgreen
|
rgb(154,205,50)
|
rgb(60.4%,80.4%,19.6%)
|
hsl(80,60.8%,50%)
|
#9ACD32
|
Eric A. Meyer has been working with the web since late 1993 and is an internationally recognized expert on the subjects of HTML, CSS, and web standards. A widely read author, he is also the founder of Complex Spiral Consulting, which counts among its clients America Online; Apple Computer, Inc.; Wells Fargo Bank; and Macromedia, which described Eric as “a critical partner in our efforts to transform Macromedia Dreamweaver MX 2004 into a revolutionary tool for CSS-based design.”
Beginning in early 1994, Eric was the visual designer and campus web coordinator for the Case Western Reserve University website, where he also authored a widely acclaimed series of three HTML tutorials and was project coordinator for the online version of the Encyclopedia of Cleveland History and the Dictionary of Cleveland Biography, the first encyclopedia of urban history published fully and freely on the web.
Author of Eric Meyer on CSS and More Eric Meyer on CSS (New Riders), CSS: The Definitive Guide (O’Reilly), and CSS2.0 Programmer’s Reference (Osborne/McGraw-Hill), as well as numerous articles for the O’Reilly Network, Web Techniques, and Web Review, Eric also created the CSS Browser Compatibility Charts and coordinated the authoring and creation of the W3C’s official CSS Test Suite. He has lectured to a wide variety of organizations, including Los Alamos National Laboratory, the New York Public Library, Cornell University, and the University of Northern Iowa. Eric has also delivered addresses and technical presentations at numerous conferences, among them An Event Apart (which he cofounded), the IW3C2 WWW series, Web Design World, CMP, SXSW, the User Interface conference series, and The Other Dreamweaver Conference.
In his personal time, Eric acts as list chaperone of the highly active css-discuss mailing list, which he cofounded with John Allsopp of Western Civilisation, and which is now supported by evolt.org. Eric lives in Cleveland, Ohio, which is a much nicer city than you’ve been led to believe. For nine years he was the host of “Your Father’s Oldsmobile,” a big-band radio show heard weekly on WRUW 91.1 FM in Cleveland.
You can find more detailed information on Eric’s personal web page.
How does someone get to be the author of Flexbox in CSS, Transitions and Animations in CSS, and Mobile HTML5 (O’Reilly), and coauthor of CSS3 for the Real World (SitePoint)? For Estelle Weyl, the journey was not a direct one. She started out as an architect, used her master’s degree in health and social behavior from the Harvard School of Public Health to lead teen health programs, and then began dabbling in website development. By the time Y2K rolled around, she had become somewhat known as a web standardista at http://www.standardista.com.
Today, she writes a technical blog that pulls in millions of visitors, and speaks about CSS3, HTML5, JavaScript, accessibility, and mobile web development at conferences around the world. In addition to sharing esoteric programming tidbits with her reading public, Estelle has consulted for Kodak Gallery, SurveyMonkey, Visa, Samsung, Yahoo!, and Apple, among others. She is currently the Open Web Evangelist for Instart Logic, a platform that helps make web application delivery fast and secure.
When not coding, she spends her time doing construction, striving to remove the last remnants of communal hippiedom from her 1960s-throwback home. Basically, it’s just one more way Estelle is working to bring the world into the 21st century.
The animals on the cover of CSS: The Definitive Guide are salmon (salmonidae), which is a family of fish consisting of many different species. Two of the most common salmon are the Pacific salmon and the Atlantic salmon.
Pacific salmon live in the northern Pacific Ocean off the coasts of North America and Asia. There are five subspecies of Pacific salmon, with an average weight of 10 to 30 pounds. Pacific salmon are born in the fall in freshwater stream gravel beds, where they incubate through the winter and emerge as inch-long fish. They live for a year or two in streams or lakes and then head downstream to the ocean. There they live for a few years, before heading back upstream to their exact place of birth to spawn and then die.
Atlantic salmon live in the northern Atlantic Ocean off the coasts of North America and Europe. There are many subspecies of Atlantic salmon, including the trout and the char. Their average weight is 10 to 20 pounds. The Atlantic salmon family has a life cycle similar to that of its Pacific cousins, and also travels from freshwater gravel beds to the sea. A major difference between the two, however, is that the Atlantic salmon does not die after spawning; it can return to the ocean and then return to the stream to spawn again, usually two or three times.
Salmon, in general, are graceful, silver-colored fish with spots on their backs and fins. Their diet consists of plankton, insect larvae, shrimp, and smaller fish. Their unusually keen sense of smell is thought to help them navigate from the ocean back to the exact spot of their birth, upstream past many obstacles. Some species of salmon remain landlocked, living their entire lives in freshwater.
Salmon are an important part of the ecosystem, as their decaying bodies provide fertilizer for streambeds. Their numbers have been dwindling over the years, however. Factors in the declining salmon population include habitat destruction, fishing, dams that block spawning paths, acid rain, droughts, floods, and pollution.
The cover image is a 19th-century engraving from the Dover Pictorial Archive. The cover fonts are URW Typewriter and Guardian Sans. The text font is Adobe Minion Pro; the heading font is Adobe Myriad Condensed; and the code font is Dalton Maag’s Ubuntu Mono.