/* ==========================================================================
   tokens — the pigment set, and the rule for every one of them
   ==========================================================================

   THE ARGUMENT THIS SITE MAKES. The white-marble Greece in everyone's head is
   a Renaissance misreading that hardened into taste. Temples and statues were
   painted, brilliantly, and we know which pigments because they have been
   recovered off the stone: Egyptian blue, cinnabar and red ochre, yellow
   ochre and orpiment, malachite, bone black, gold leaf.

   So the palette is not invented. It is the documented pigment set, seen by
   lamplight in a dark naos — which is why the ground is night-BLUE rather than
   near-black. Five colours carry the design, so there is no lone acid accent,
   and the whole thing sits nowhere near the other nine demos on this shelf.

   EACH COLOUR HAS A LAW. This is the part that matters, because a palette
   without rules is just six hex values:

     NAOS       backgrounds and the canvas void. Never type.
     PENTELIC   marble, undyed wool, and all text on dark.
     KYANOS     the ONLY colour permitted to respond to a user — links,
                hover, focus rings, the active state of anything.
     KINNABARI  section marks, rules, borders. Never a background, never body
                text: cinnabar was an accent pigment and it stays one.
     CHRYSOS    gold. Forbidden anywhere that does not contain a NUMBER or a
                NAME — prices, god-names, the keraia. Gold leaf was applied to
                what mattered, not spread about.
     PORPHYRA   murex purple. Permitted ONLY in the sanctum, on Tier IV goods,
                and on the final confirm action. Tyrian purple was restricted
                by law to the elite; the stylesheet keeps the restriction.

   That last rule is the palette enforcing a sumptuary law, which is the most
   Greek thing in this file.
   ========================================================================== */

:root {
  /* the interior after dark: Egyptian blue at low light, not black */
  --naos: #131c33;
  --naos-2: #1b2542;
  --naos-3: #26325a;

  /* marble and undyed wool */
  --pentelic: #e8e2d6;
  --pentelic-2: rgba(232, 226, 214, 0.72);
  --pentelic-3: rgba(232, 226, 214, 0.44);
  --pentelic-4: rgba(232, 226, 214, 0.16);

  /* the first synthetic pigment — and the only interactive colour */
  --kyanos: #1d4fa1;
  --kyanos-lit: #4d84e0;

  /* cinnabar: accents and rules only */
  --kinnabari: #c8402c;
  --kinnabari-dim: rgba(200, 64, 44, 0.42);

  /* gold leaf: numbers and names only */
  --chrysos: #c9a227;
  --chrysos-dim: rgba(201, 162, 39, 0.4);

  /* murex: the sanctum, tier four, and the confirm */
  --porphyra: #5c1a3c;
  --porphyra-lit: #8e2c5e;

  --line: rgba(232, 226, 214, 0.14);
  --line-2: rgba(232, 226, 214, 0.28);

  /* type ------------------------------------------------------------------
     Every face here was tested for the glyphs this site actually sets, not
     chosen from a subset table. Cinzel and Marcellus — the two faces a
     designer reaches for to signal "classical" — carry NO Greek at all, and
     would have forced the shop's own name to be faked out of Latin lookalikes.

     GFS Didot and GFS Neohellenic are by the Greek Font Society and drawn for
     Greek rather than extended into it. Noto Sans Mono was kept for one
     specific reason: it has U+0374, the keraia, the mark that turns a letter
     into a numeral. Every price on this site would silently fall back to
     another family without it. */
  --f-display: 'GFS Didot', 'Georgia', serif;
  --f-body: 'GFS Neohellenic', system-ui, sans-serif;
  --f-mono: 'Noto Sans Mono', ui-monospace, monospace;

  --t-hero: clamp(2.6rem, 7vw, 7rem);
  --t-h2: clamp(1.9rem, 4.4vw, 3.6rem);
  --t-h3: clamp(1.3rem, 2.2vw, 1.9rem);
  --t-lead: clamp(1.05rem, 1.5vw, 1.35rem);
  --t-body: clamp(1rem, 1vw, 1.08rem);
  --t-small: 0.875rem;
  --t-meta: clamp(0.64rem, 0.72vw, 0.74rem);

  /* Stoichedon is a GRID, so the letter cell is a token like any other. */
  --stoich: clamp(1.05rem, 1.5vw, 1.5rem);

  --gut: clamp(1.15rem, 3.5vw, 3.2rem);
  --sec: clamp(5rem, 14vh, 11rem);
  --maxw: 80rem;

  /* Two curves. --walk is the procession: a pace, not an easing show-off.
     --strike is a chisel coming off stone — decisive at both ends. */
  --walk: cubic-bezier(0.4, 0, 0.2, 1);
  --strike: cubic-bezier(0.7, 0, 0.3, 1);
}

@media (prefers-reduced-motion: reduce) {
  :root {
    --walk: linear;
    --strike: linear;
  }
}