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Before and after pairs for omacom#55: contrast floors on four themes, glyphs, search, the details pane and the folder card fill.
 [Medium impact] The latest changes appear safe to merge; the earlier table-limit issue remains non-blocking. Findings
SummaryThis PR improves contrast, glyphs, search feedback, and the details pane. The latest changes:
The earlier search-footer finding was correctly disputed by Reviews (7) · Last reviewed commit: "Give a rendered Markdown page room betwe..." · Reviewed by Greptile |
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The selected item's name was drawn in the accent on the accent tint, which read dimmer than the names around it (3.8:1 on osaka-jade). It now uses the bright text color, and its size and date the normal one, as a lit menu row does.
Moving the cursor by key past the edge of the grid left it out of sight. The view now scrolls just enough to show it.
With nothing selected (Alt+click on the last selected item), Delete, F2 and Return still act on the cursor's item, but nothing showed which one. That item now carries a thin accent frame, the selection ring at 1 px.
In a split both panes drew their selection in the accent, so nothing said which pane the keys go to beyond the thin line at the top. The pane the keys don't go to now draws its selection and cursor in a neutral tint.
The details pane wrapped its title and text preview at any letter, so a name or a line of text broke mid-word. Both now break between words and split a word only when it is wider than the pane.
The notice line elided its end, which is where a restore names the folder it put the file back in. It now elides the middle, so the start and the folder stay readable on a narrow pane.
With several items selected, the details pane still showed only the one under the cursor, as if it were the whole selection. It now says how many are selected and their size together, or how many of them are folders.
A search result was named by its whole path from the searched folder, so deep results led with folders and their own names were cut. Each now shows its file's name, with the folder it is in quieter beside or under it; a plugin's item keeps its own name.
Rename, delete, mount, name clash and format dialogs were drawn inside their folder pane, so in a split, and beside the details pane, the rest stayed lit. They now dim the whole window, no pane takes keys while one is open, and the keyboard goes back to the pane once the last one closes.
The fitted shortcut sheet's scroll bar showed only in use, so nothing said rows were below; it now stays shown in the card's margin. In the preview window the sheet takes the keyboard, so its keys scroll it, not the preview.
A drop on the same drive always moved, with no way to copy as most file managers do with Ctrl. Holding Ctrl at the drop now copies, and a drop that copies tells the source app so instead of saying it moved.
The sheet's scroll bar, shown at rest as the only sign of rows below, was 1.9:1 on its card. A bar shown at rest now takes the theme's quiet text color, 3:1 or more on every Omarchy theme; others are unchanged.
A menu could rest on the window's edge, and an open submenu's parent row wore the same accent as the row under the pointer. Menus now stop 8 px short of the edge, and the open parent keeps a neutral wash.
Qt's en_US time puts a narrow no-break space before AM and PM, which the font draws as none, so times read "4:04PM". Format.js now swaps it for a plain space, and the details pane's date and time go through it too.
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| // Table cells cost the UI thread most to lay out; this many keep the card under a 10 ms frame. | ||
| constexpr int markdownCells = 300; | ||
| if (mime == "text/markdown") | ||
| read.insert("markdown", Previewer::markdownHtml(Previewer::markdownOpening(text, markdownCells))); |
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The new Markdown preview can exceed its 300-cell limit. markdownOpening() counts written | characters, but a GitHub-style table fills short rows out to the header’s width. A 100-column header and separator followed by 39 |x| rows uses only 280 pipes, yet produces about 4,000 cells. This fits within the file-reading limits and can make selecting the file pause the details pane.
Limit the rendered table’s rows × columns, including empty cells.
With several selected, the details pane drew one of them under "N items selected", and a selection with no cursor showed "Nothing selected". A selection is now counted with or without a cursor, under a plain glyph.
A search result tile's line led with its folder, then size and date, so the date was cut mid-number on a 140 px tile. When the folder leads, the line holds folder and size; the details pane still gives the date.
A drop could move or copy, but its frame said neither, so the verb was known only after letting go. Each drop target, columns included, now says "Move here" or "Copy here", from Ctrl and whether every file is on another drive.
A right click on a file in the other pane selected it there, but the keys stayed with the first pane, so Delete and F2 after the menu acted on the wrong file. A right click now gives the keys to its pane first.
"Nothing selected" sat 8 px above "This folder is empty" beside it, since the folder view starts 16 px lower than the details pane. It now drops by half that, so the two read as one line.
While the caret was in the search field, or Tab had put the keyboard in the sidebar or the details, the selection wore the full accent ring, as if the keys were on it. The view now draws it as the other pane's until the keys come back to the files.
A path wider than its bar was cut through the middle of a crumb. Crumbs that do not fit now fold whole into a leading ellipsis that goes to the deepest folded folder and names the folded path in a tooltip; only a lone current folder elides. Mirrored, the ellipsis leads from the right.
The HOME heading was the only mouse route home and looked like the inert labels. Home is now the first row of the first section, with its glyph, taking drops like any folder row; Recents and Trash end that section in place of a Views heading.
The first section's heading read "HOME" straight above the Home row, so the same word showed twice 30 px apart. The Home row now leads the section on its own; Pinned, Devices and Tailnet keep their headings.
The disabled ink was a translucent foreground the stroke blended twice, so it drew at 4.0:1 beside an off toggle's 5.1:1 and the two looked alike. It is now an opaque half mix, 3.4:1 on osaka-jade and 1.5:1 from off.
Splitting was only Ctrl+Alt+N, with nothing on screen to find it by. The first pane's bar now ends with a split toggle beside details. Off, it opens the second pane; on, it closes it as Ctrl+W does, lit by brightness alone. Its tooltip names it without the key, as the bar's other buttons do.
A drive was a flat box, the list view three bars like a menu, and an archive took the plain page every unknown file gets. A drive now has a sloped top, the list view bullets, and an archive row a lidded box.
The secondary ink was a fixed mix of foreground into background, which drew under 4.5:1 on Rose Pine and Catppuccin Latte and on Gruvbox's tiles. It is now raised toward black or white just enough to reach 4.5:1 on the background, tiles and panels, and a theme that already reads keeps its mix.
Focus, cursor and drop frames and the selection band used the raw accent, which drew under 3:1 on Rose Pine and on White's tiles. They now use accentMark, the accent raised just enough to reach 3:1, while fills and tints keep the accent itself.
The other pane's selection ring and a disabled toolbar glyph were fixed blends that drew near 2.3:1 on Rose Pine and Catppuccin Latte. They now use quietMark and disabledForeground, raised to 3:1, and a disabled glyph stays clearly dimmer than an off toggle at 4.5:1.
Rename problems, a plugin mark with the "error" tone and the format dialog's warning drew in the theme's red, down to 2.3:1 on Miasma. They now use redText, the red raised just enough to reach 4.5:1 on the background, while fills and the dialogs' edges keep the theme's own red.
Drop to pin and the preview window's file extension drew in the raw accent, down to 2.5:1 on Rose Pine over the pin box's tint. They now use accentText, the accent raised just enough to reach 4.5:1 on the background, the preview window and that tint, while fills and marks keep their colours.
A plugin mark with the "warning" tone (Dropbox syncing) drew its status in the theme's yellow, down to 2.1:1 on Rose Pine and 2.3:1 on Catppuccin Latte and Flexoki Light. It now uses yellowText, the yellow raised just enough to reach 4.5:1 on the background.
Vantablack, Solitude and White set red to a grey, so a rename problem, a Dropbox that is not running or the format warning drew in a grey that does not read as red. When the red's saturation is 0.2 or less those words take the foreground; fills and the dialogs' edges keep the colour.
A page stand-in's badge wrote its extension in the background color on the kind color, down to 2.1:1 on Rose Pine's yellow. It now takes the background where that reads at 4.5:1, else the foreground, else whichever reads better raised to 4.5:1, and the badge keeps the theme's own kind color.
Side by side in the top bar, the details glyph and the split glyph were both a box with one upright bar. Details now holds two short lines in its side panel, and split's two boxes stand 4 units apart.
In the grid an archive drew the ruled page every text file draws, while its list row drew the lidded box. The page now holds the archive glyph in the kind's colour instead of the lines; the extension badge stays.
With no results the field hint read "0 found in X and below", which looks like a counter beside the pane's "Nothing matches". At no results it now says "Searched X and below", and the pane gives the result.
"Move here" and "Copy here" on the drop frame, a list or column row and a sidebar row drew in secondary ink on the accent tint, 4.45:1, under the 4.5:1 text floor. All three now draw in the theme's foreground.
A search result named the file with nothing to show why it was found. The run that matched, found as the search finds it (ignoring case), now draws in bright ink in the grid, list and columns; the rest stays as it was.
A file named like markup, such as "<b>x</b>.txt", drew as rich text, bold and without its tags, because name labels took Text's AutoText default. Every label that shows a file, folder or drive name now draws plain text.
The Open With menu listed bare app names. Each row now carries the icon from the app's desktop entry, 16 px from the icon theme, in a column kept empty for an app without one so the names stay aligned. App names draw as plain text, so markup in a desktop entry's Name shows as written.
The matched run was only a brighter colour, close to the rest of the name and invisible on the selected result, whose whole name is bright. It is now bold as well; the monospace face keeps its advance, so nothing reflows.
A row with no key or arrow still counted the key column and its 40 px gap in its width, so a menu fitted to its widest row stood wide of Open With's longest name. The gap now counts only when a row has a key or an arrow.
The details pane showed a Markdown file's opening lines raw. It now renders them, converted off the UI thread to HTML with every picture replaced by its alt text, so selecting a file fetches nothing; raw HTML stays text. Rich text cannot elide, so the card ends on the last line that fits whole, and a table stops at 300 cells, which the card lays out in under one 10 ms frame.
The audio stand-in drew 18 bars of nearly one height, a comb that read as a barcode, and its extension as bare grey text. The name is hashed once and the bars spread from 20 to 48 px, and the extension wears the chip the page stand-in wears, in the same corner.
In a split window the search hint could be wider than the field, so the typed text had no room and drew left of the field over the other pane. The hint now elides its place name, then hides, keeping room for typing, and the field clips. At full width nothing changes.
A split pane's path folded straight to "… / Exports" when its parent did not fit whole, leaving no hint of where the folder is. The parent now elides to stay beside the current folder, ending where its name ends, and folds only when fewer than about six characters of it would show.
Qt Quick gives a text's new glyph nodes subpixel antialiasing and the nodes it reuses on a redraw gray, so neighbours in one color drew two ways. Folio now asks for gray distance field text, unless the environment already sets QSG_DISTANCEFIELD_ANTIALIASING.
On many themes the lighter background sits within 1.05 to 1.3:1 of the background, so grid folder cards nearly vanished. The card fill is now the lighter background raised to 1.4:1; the hover, current and drop tints still draw on top of it.
The Open button's "Open with %1" and the button that picks what a file opens with took Text's AutoText, so markup in a desktop entry's Name drew as rich text. Both now draw plain text, as file names and the Open With menu already do.
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Qt reads Markdown with a heading on its text and a table on the lines around it. The page now has room after each block, padded table cells between quiet rules, a ground under code, and links in the text's own color; the preview window shows the same page as the details pane.
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A pass over contrast, glyphs, search and the details pane, so text and marks read on every Omarchy theme, a search says what it found and why, and each glyph draws what it stands for. It builds on #18 and #19, so its own commits start after theirs. One commit per change; each says what was wrong and what it does now. The suite goes from 207 to 227 tests, and every test it adds passes with
TMPDIRset to a folder with a space in its name.Readable on every theme
The floor works from each theme's own colors and leaves a color alone wherever it already reads, so most themes change only where they fell short.
Glyphs and the top bar
Search
Details pane, menus and dialogs
<b>x</b>.txtshows as written.Screenshots
Before on the left, after on the right, 1100x700 on native Omarchy. Taken on this branch before its last rebases onto main; what they show is unchanged. The two Markdown pictures are of its newest commit.
Rose Pine: names' secondary lines and counts rise to 4.5:1.
Catppuccin Latte, the same.
Rose Pine: folder cards keep a fill that reads on the pane (#24).
Catppuccin Latte, the same.
Rose Pine: the cursor's frame reaches 3:1.
Jade Horse: the other pane's ring reads.
Rose Pine: a rename problem in red at 4.5:1.
Vantablack, whose red is a grey: the problem draws in the foreground.
Badges in an ink that reads on their color; the archive's lidded box; the audio stand-in's bars.
Gray text, without LCD color fringes.
The list view's bullets and the archive's box in its row.
The split button at the end of the bar.
The Home row leads the sidebar on its own.
Once the results settle, the field says how many were found.
The matched part of each name draws bright and bold.
A search that found nothing says Escape ends it.
In a narrow split pane, the typed text stays inside the field.
Open With shows each app's icon.
Markdown rendered in the details pane.
Markdown rendered in the preview window.
Names with markup draw as written.
The shortcut sheet lists dragging.
"This folder is empty" stays level with "Nothing selected" while a band shows.
Not pictured: the drop verb and drop to pin (a held drag cannot be shot), a plugin mark's warning, the disabled glyph and the preview's extension (in the preview window), and the drive glyph (no extra drive on the capture machine).