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This article describes how to build a face features detecting app using the face detection API (Firebase ML Kit) and Android Things. The idea of this article comes from the Google project called “Android Things expression flower." This project idea is detecting face characteristics (or face classification) using machine vision based on Firebase ML Kit. Moreover, this project displays the face characteristics using an LCD display and some emoticons.
To build this project, you will need:
Jetpack 6.9 was released today with three new blocks for the editor. Subscriptions, Related Posts, and Tiled Galleries are now available as blocks under Jetpack in the block inserter tool.
The most exciting thing for both Related Posts and the Subscription form is that they can now be placed anywhere within post or page content with a live preview. Previously these modules were limited to wherever the theme placed them, or widgetized areas in the case of the Subscription form. Below is an example:
Tiled galleries can now easily be inserted, manipulated, and previewed in the new editor with all of the same features they had before. Styles and link settings for the galleries can be found in the block sidebar, but they are somewhat limited when compared to other plugins like Block Gallery. Now that the Jetpack team has the basic block in place, they can easily update it with new features.
Users will need to have their Jetpack accounts connected to WordPress.com to access any of these new blocks, but they will all work on the Free plan.
If you have been missing Jetpack shortlinks since Gutenberg was released, you will be pleased to find that Jetpack 6.9 brings them back under a new Jetpack icon at the top right of the block editor. Clicking on it reveals Jetpack’s publicize options as well as the shortlink.
Jetpack is constantly evolving its admin menu and user flows. This release brings changes to various screens, including a new “My Plan” section in the Jetpack dashboard, as well as a reorganization of the sections and cards under Jetpack > Settings. It also improves the notices displayed to users who have not connected their WordPress.com accounts.
We must create a program that will print a sorted list of all the students and the corresponding scores listing the highest score first and the lowest score last. In this case I would need a Bubble Sort.
This is my "Bubble Sort" method shown in the code block below.
public static void bubbleSort(String [] name, double [] score)
{
double temp;
int counter;
int index = 0;
for(counter = 0; counter < score.length - 1 - counter; index++)
{
if(score[index] > score[index + 1])
{
temp = score[index];
score[index] = score[index + 1];
score[index + 1] = temp;
}
}
}Looking at the way I have written this code I did not use the String [] name array in the method so the names will not be sorted along side the corresponding exam score.
How would i fix this code to sort not only the scores but print the names that go along side the scores? Do I need another method to accpet the names?
We must create a program that do the following:
Allow the user to type in a student name the coorosponds with the student's exam score.
The program will be able to accpet exam scores till the user types in the phrase "allDone".
The code will determine which student has the highest score and give the name and the score to the user.
Here is an example of what will be shown in the console....
Sample Input
Bob 82
Mary 90
James 87
alldone
Sample Output
Mary has the highest score. Her score is: 90.
This line of code allows the user to type in the name of student and the grade that goes with the name:
//Allows for name and score to be type into system.
for(count = 0; count < numberOfStudents; count++)
{
//Prompts user to type name of student.
System.out.println("Type in the name of student " + count + ":");
//Allows name of student to be stored in array.
studentName [count] = input.nextLine();
//Prompts user to type grade of student.
System.out.println("Type in the score of student " + count + ": ");
//Allows grade of student to be assigned in array.
studentScore [count] = input.nextDouble();
}I get an error message when I used this code. My question is this: In other words, how do I reformat this piece of code to allow the user to type in a name seporataly along with the corrospoindng exame score?
I want to make"LOLO Game". A brief description of LOLO game: The game starts with a matrix filled with random numbers. The player selects a cell. After an input, all the cells which follow these criteria will collapse to the selected cell:
1.have the same number as the selected cell.
2.have an unbroken path(not diagonally) of similar cells from the selected cell.
After the collapsion, all cells follow gravity and empty cells formed on top are filled again with random numbers. Scoring is based on the number of cells collapsed.
Example: if the matrix is:
1 2 3 4 5
1 1 1 1 3
5 1 3 2 4
3 2 1 1 1
1 1 1 1 1
and the player selects [0][1] ie 1
the resultant matrix will be :
x x x x 5
1 x 3 4 3
5 2 3 2 4
3 2 1 1 1
1 1 1 1 1
where x represents the newly inserted random numbers
I need to perform this on a 5x5 matrix. The newly entered number is in the range 1-largest number in the matrix. At the first, we have numbers 1-5 and only one 6 in the last line. Q1. How do I identify the cells to be deleted? Q2. How to implement the gravity effect after deletion?
I have built the 5x5 matrix with random numbers.
// _0_1_2_3_4
// 0|_|_|_|_|_|
// 1|_|_|_|_|_|
// 2|_|_|_|_|_|
// 3|_|_|_|_|_|
// 4|_|_|_|_|_|
void drawBoad(board[sizex][sizey])
{
int r1=rand() % 5 ,r2=4; //for one 6
int firstboard[5][5]={{rand() % 5 + 1,rand() % 5 + 1,rand() % 5 + 1,rand() % 5 + 1,rand() % 5 + 1},
{rand() % 5 + 1,rand() % 5 + 1,rand() % 5 + 1,rand() % 5 + 1,rand() % 5 + 1},
{rand() % 5 + 1,rand() % 5 + 1,rand() % 5 + 1,rand() % 5 + 1,rand() % 5 + 1},
{rand() % 5 + 1,rand() % 5 + 1,rand() % 5 + 1,rand() % 5 + 1,rand() % 5 + 1},
{rand() % 5 + 1,rand() % 5 + 1,rand() % 5 + 1,rand() % 5 + 1,rand() % 5 + 1}};
firstboard[r1][r2]=6; //for one 6
for (int y = 0; y < sizey; y++) //This draws the body
{
cout << y << "|";
for (int x = 0; x < sizex; x++)
{
cout <<Board[x][y]<< "|";
}
cout << endl;
Wave Digital is a Melbourne-based app development company. The website redesign was completed by the Wave team following the company’s rebranding. The redesign reflects the focus on a people-led approach to designing and developing apps that improve lives, along with the company’s interest in the health industry.
The post Wave Digital appeared first on WeLoveWP.
Google has launched a new educational site at opensource.dev that offers a succinct and approachable introduction to open source software and licensing. WordPress is cited as one of the more well-known examples in the opening paragraphs:
It’s in your phone, your car, your TV, and your wifi-connected light bulbs. Open source components enable engineers to build on the work of a global community of developers to deliver better products faster and at lower cost. Linux, the Apache web server, Android, Firefox, and WordPress are examples of open source projects you may have heard of.
Google relies heavily on open source for both internal tools and consumer-facing products. A few of the company’s more widely used open source projects include Android, Chromium, Chromium OS, Go, and Material Design icons, but there are also many smaller projects. Google has created more than 2,000 open source projects in the last decade, which you can browse through using a fun, interactive explorer.
The new Opensource.dev site gives an important nod to Open Source Initiative (OSI) as the maintainer of the Open Source Definition (OSD) and the globally-recognized authority on open source licensing.
Google and many other OSI sponsors and affiliates recognize the OSD as the definition of open source and OSI’s authority as the maintainer of the OSD. Licenses which do not comply with the OSD might still provide access to the source code, but they’re not “open source”.
The site ends with a solid list of curated links to important open source organizations, foundations, and other resources for further exploration. Overall, opensource.dev provides a nice summary that answers the question, “What is open source?” It’s a resource agencies and freelancers might consider sharing with clients who are new to the concept.
A minimalist design which utilizes Google Fonts and Font Awesome to create a visually attractive page.
The post Google Fonts for WordPress appeared first on WeLoveWP.
There’s a lot to take into consideration when you’re designing a website. You have to create the layout, set up the site architecture, place calls to action (CTAs), and pick your domain name, just to name a few things.
But all too often a website’s color scheme is an afterthought.
So many site owners put little to no thought into picking their website color palette, let alone a trending color scheme. They think, “How important could my website’s colors really be?”
Well, the color choices on your website have a bigger impact on visitors than you might realize. They invoke specific feelings and can be a powerful way to motivate the choices your visitors make.
In fact, research shows that people judge products within 90 seconds of exposure — and 90% of that judgment is based on color alone. Choosing the right colors impacts how your readers perceive your website and brand.
Do it well and it can enhance your content’s readability, increase comprehension, and improve learning.
Colors are one of the most important elements that add credibility to your website. According to HubSpot, nearly half of people rank the design of a website as the number one factor in determining the credibility of a company.
The University of Toronto conducted an interesting study on colors and how they are perceived by individuals. They determined that most people prefer combinations of simple colors.
In most cases, just two or three colors were perceived as appealing. That’s why sticking to a color palette is so important to the success of your site, and ultimately your business.
But there are more than 10 million colors to choose from. That’s overwhelming, to say the least. How can you determine which website colors are the best for your brand?
Whether you have a new site that you’re designing from scratch or an old website that needs a facelift, you’ve come to the right place.
This guide will show you which color palettes are trending so you can find the colors that best fit your website’s brand and those that match how you want your customers to feel. We’ll look at examples of real sites and list some of the exact color codes for your reference.
Soft tones are definitely trending in 2020. Creations Namale is a jewelry brand based in Canada. Here’s a screenshot from the 2020 look book on the homepage of their website:
The colors are muted, classy, and very appealing. It’s a perfect choice for a brand in the fashion industry selling jewelry. The simple tones work well with each other and help the images of jewelry stand out.
In addition to the simple color scheme used on this site, the layout takes the same approach. The white space lets the page breathe. Throughout this guide, you’ll see that the use of negative space is just as important as the colors you use.
As you can see, there is minimal text. They’re a jewelry brand after all. They don’t need to rely on a bunch of text to get their message across—and their audience doesn’t want that anyway.
The muted colors give off a sense of class and refinement. It’s not in your face.
Rather than trying to cram as many products as possible onto one page, this site takes the approach of just one at a time. That gives visitors a chance to experience each product one at a time. The colors help that by supporting the images and highlighting them, rather than distracting from them.
Creations Namale is using desaturated versions of green and brown (two earthtones). Desaturation just means taking common colors and mute them. This helps this brand send the right message and not distract from their products.
If you’re interested in using these colors on your website, the color codes are below.
You don’t always have to choose a bunch of different colors either. Website color palettes that use shades of gray with the occasional primary color to highlight something are less distracting and allow your audience to focus on what’s important to them.
Check out this page from Tareq Ismail’s Portfolio. Tareq is an experienced designer, so it’s only natural that he chose a powerful yet simple design and color scheme for his own website.
There is more text on the page, but it’s still simple and easy to read.
Rather than using a pure white tone, Tareq chose a slightly off-white color to blend with his gray and red color palette. This off-white works particularly well since he’s wearing a white shirt in the image on this page.
The subtle hints of red in the text really complete the look, taking a page that would be otherwise boring and making it pop.
These are the color codes used on Tareq’s site.
This is a great option to consider if you’re looking for a color palette that’s professional, simple, and works well with pages that have a bit more text.
Stripe is a popular payment processing software option for ecommerce companies. As a technology brand, Stripe needs to stay up to date with all of the latest tech trends. But they also have a website color scheme that’s trendy as well.
Before we look at what their website looks like today, take a look at what their site looked like six years ago, back in 2013:
Is there anything wrong with this design? On the surface, it just looks a little bit boring and dull. There’s nothing about it that’s really visually appealing.
But Stripe made adjustments. Its current color palette uses a technique that’s been growing in popularity—gradients. Take a look for yourself:
This page blends vibrant blues that fade into a nice bright cyan with a hint of seafoam green to provide a dynamic background for the white text to jump off of.
By using a gradient scale, Stripe takes a very simple blue color and blends it with different tones to create more texture in the background.
The difference between the 2013 site and the 2020 site is like night and day. Even if you’d seen the two homepages without knowing the years they were live, you’d have been able to identify the newer one.
If your website is currently outdated and looks more like the Stripe site from 2013, try adding color gradients to give your palette a more modern look.
Retro color schemes are making a big comeback in 2020. Lots of top brands are using popular colors from the 1970s, ‘80s, and ‘90s on their websites. But they are putting a modern twist on them.
By incorporating retro elements with modern tastes, they’re able to give new life to old trends. They’re also able to evoke specific and familiar feelings in their audience no matter when they grew up.
It’s a bit of an oxymoron. How can something be retro and modern at the same time?
Let’s look at the Spotify homepage.
These warm orange and red tones have a throwback vibe to them, but the design itself is very trendy and uses gradient scales to blend the colors.
You can use generational marketing to segment your target audience. It’s important to make sure you understand who you’re trying to target with your website color schemes. This goes far beyond just picking pink designs for women and blue designs for men.
Spotify chose these colors because they knew some of their audience included those who grew up in the ‘70s and ‘80s. They also know there’s a trendiness to these colors that younger generations love.
Cowboy differentiates its brand by selling electric bikes on a modern—and slightly pink—website. Typically, the words “cowboy” and “pink” don’t normally go hand in hand, but the sleek and trendy design of this website is perfect for what they’re selling.
The soft pink tones in the background makes the jet black bike stand out and become the center of attention. By adding the brighter pink accents in subtle locations around the page, Cowboy Bike nails the trendy and modern color palette.
Despite a feminine connotation with pink, Cowboy targets users of any gender. Instead, they evoke feelings of enjoyment, trendiness, and social buzz when used with black.
If you like this design and think that the modern feel would work well for your website, you can use these color codes as a reference when you’re choosing your color scheme:
The QED Group is an organizational development firm based in the Czech Republic that is keen to apply concepts in psychology and behavioral economics.
QED Group knows company culture and empowerment, so it makes sense that they have a sleek website that uses unique color combinations in a smart way.
At first glance, the color palette of their home page is a bit busier than some of the other examples that we’ve looked at so far. But they still pull it off well with this trendy design.
Normally you would think that yellow, blue, and purple tones would be difficult to read and hard on the eyes. By using lighter and dull gray tones in the background, they are able to add brighter contrasting colors to the middle silhouette.
If you like the modern look of these soft yellow tones paired with gray and deep blue, check out these color codes:
Konstantopoulos S.A.’s “Olymp” label sells Greek olives. Hence, earth tones—especially shades of green that hew close to the color of olives—make sense for its website.
The layout and design of this homepage are very simple. The main color choice here is olive green, of course. But as you can see, it’s used very sparingly.
It’s a fresh take on a classic, but effective color scheme. Rather than going overboard with wall to wall saturation of dark greens, the soft gray background helps the images, text, and colors pop.
Look closely and you’ll see muted green leaves in the background. This helps highlight the green text and logo, and draw your eye to them.
For businesses that deal in healthy foods, plants, and agriculture, the earth tones color palette is a great choice. Refer to these green, gray, and light brown color codes to get a similar look on your website.
You can do something similar if your product has an identifiable color. Start with the light gray background and darker gray copy color and add your accent color in sparingly. This is a good launching point for simple, not-too-busy color schemes that provide a quick facelift with just an identifying main color and a complimentary accent color.
If you look back at all of the trending website color schemes we’ve covered so far, you’ll notice a popular color that’s rarely used—red.
That’s because red is one of the most powerful but challenging colors to use on a website. It can be overwhelming since red easily draws a reader’s attention. But when used right, it can be a great way to add excitement to your website.
One way to effectively use red is to use a light touch to give a pop of color to something as small as a few key words in the text (remember Tareq Ismail’s portfolio in #2?).
Another way is to pair more muted colors with red. This is a more advanced color scheme tactic than what we saw on Tareq’s website.
A while back, the creative branding agency five/four swung for the fences by using a bright red color on a huge portion of their website, paired with tan and a muted bluish-green.
The red here is doing a lot of the heavy lifting, with the muted blue-green supporting it as an accent color. If they had decided to go with bright yellow, light blue, and bright orange in addition to this red color, it would have been way too much.
But these soft colors pair perfectly with red. This red works really well for the brand, too. It’s bright, bold, and draws lots of attention to the theme of creativity.
So, for those of you who want to go modern and bold with your color scheme, consider using these color codes with red on your website.
Just make sure you don’t go too big with the red. You want to be certain that you have enough of the softer tones to let your page breathe, while still capturing a trendy appearance.
This list wouldn’t be complete without an example of Anton & Irene. These are professional designers based in New York. They specialize in all aspects of design, including digital products.
And they put on an absolute masterclass on pastels and primaries.
One of the best parts about this website color scheme is the futuristic feel about it. The outfit choices of Anton and Irene are pretty far out. It’s a bold choice–but sometimes, the boldest choices pay off the most. Here they use flashy combinations without it ever descending into gaudiness.
While this site uses more colors than some of the other examples we’ve seen so far, they are used sparingly, so the page isn’t messy or unappealing. This is reflected in the image they use too: Anton wears contrasting purple and orange while Irene wears blue and yellow. They’re imperfect opposites (blue’s opposite is orange, and purple’s opposite is yellow), but they work together well as a whole.
If you’re looking for an artistic spin for your website color scheme, try using different combinations of these exact colors.
We’ve seen some black on nearly every website that we’ve looked at so far, but always used pretty sparingly. It’s usually reserved for text, as opposed to being one of the main colors or background.
However, that doesn’t mean you can’t use heavy blacks in more abundance for your website color scheme. Doing so helps showcase feelings of class, luxury, and professionalism— especially if you use different black tones like these:
Check out the JY BH homepage. By combining different shades of black, you’ll get the gradient effect, which you saw earlier with some of our other examples. The heavy black gradient gives the site a mysterious, bold look.
This company is a French clothing manufacturer that sells luxury garments and accessories for both men and women. Just like in fashion, black is a timeless color for web design. It’s been popular for years, and will continue to be popular in 2020 and beyond.
But if you’re going to go black on your website, use different shades to add depth and texture, like the example above. Just one black will look flat and basic.
Of course, your brand is much more than the color scheme you choose. The way those colors interact with your overall website ultimately impacts your conversions, credibility, and the success of your brand.
To help you create the best website you can, here are a few of our very best resources to serve as guides on your design journey:
It’s 2023. That means it’s time for you to ditch the color scheme you were using years ago. It’s important to switch it up because color schemes can impact sales on your website.
Using these color palettes as a launching point, you can create a modern, trendy, and unique website. You can even use some of the exact color codes that we showcased.
You’ll likely find that choosing the right website color palette doesn’t have to be hard. Most CMS tools like HubSpot’s free CMS allow you to change your website color schemes with just a few clicks. And when you do it, you give your brand the shot in the arm it needs to draw in new visitors and excite old ones too.
I'm somewhat new to coding websites. I'm trying to have a code where it pulls multiple images from a single database and displays it in a grid, not a table. At the top of my page I have a normal connection to the database. (very sorry about not having a code snippet, I'm new to daniweb and keep having errors when trying to use code snippets.)
<div id="grid" class="grid-container"> <?php
while ($row = mysqli_fetch_array($query))
echo '<div class="grid-item">
<p>'.$row['images'].'</p>
<p>'.$row['project'].'</p>
<p>'.$row['summary'].'</p>
</div>';
?> </div>
If you’re looking for a way to earn an income online, you’re probably familiar with affiliate marketing. There are so many affiliate programs and resources out there, however, that getting started can be an overwhelming prospect. Fortunately, the Amazon Associates affiliate program is an easy way to introduce affiliate marketing to your blogging routine. It’s also […]
The post How to Make an Amazon Affiliate Site With WordPress appeared first on WPExplorer.
A challenge I faced in building an image "emojifier" was that I needed to change the color spaces of values obtained using getImageData() from RGB to HSL. I used arrays of emojis arranged by brightness and saturation, and they were HSL-based for the best matches of average pixel colors with the emojis.
In this article, we’ll study functions that will be useful for converting both opaque and alpha-enabled color values. Modern browsers currently support the color spaces RGB(A), hex, and HSL(A). The functions and notations for these are rgb(), rgba(), #rgb/#rrggbb, #rgba/#rrggbbaa, hsl(), and hsla(). Browsers have always supported built-in names like aliceblue as well.
Along the way, we’ll encounter use of some color syntaxes provided by a new Level 4 of the CSS Colors Module. For example, we now have hex with alpha as we mentioned (#rgba/#rrggbbaa) and RGB and HSL syntaxes no longer require commas (values like rgb(255 0 0) and hsl(240 100% 50%) became legal!).
Browser support for CSS Colors Level 4 isn’t universal as of this writing, so don’t expect new color syntaxes to work in Microsoft browsers or Safari if trying them in CSS.
Converting RGB to hex is merely a change of radices. We convert the red, green, and blue values from decimal to hexadecimal using toString(16). After prepending 0s to single digits and under, we can concatenate them and # to a single return statement.
function RGBToHex(r,g,b) {
r = r.toString(16);
g = g.toString(16);
b = b.toString(16);
if (r.length == 1)
r = "0" + r;
if (g.length == 1)
g = "0" + g;
if (b.length == 1)
b = "0" + b;
return "#" + r + g + b;
}Alternatively, we can use a single string argument with the red, green and blue separated by commas or spaces (e.g. "rgb(255,25,2)", "rgb(255 25 2)"). Substring to eliminate rgb(, split what’s left by the ), then split that result’s first item by whichever the separator (sep) is. r, g, and b shall become local variables now. Then we use + before the split strings to convert them back to numbers before obtaining the hex values.
function RGBToHex(rgb) {
// Choose correct separator
let sep = rgb.indexOf(",") > -1 ? "," : " ";
// Turn "rgb(r,g,b)" into [r,g,b]
rgb = rgb.substr(4).split(")")[0].split(sep);
let r = (+rgb[0]).toString(16),
g = (+rgb[1]).toString(16),
b = (+rgb[2]).toString(16);
if (r.length == 1)
r = "0" + r;
if (g.length == 1)
g = "0" + g;
if (b.length == 1)
b = "0" + b;
return "#" + r + g + b;
}In addition, we can allow strings with channel values as percentages by adding the loop after redefining rgb. It'll strip the %s and turn what’s left into values out of 255.
function RGBToHex(rgb) {
let sep = rgb.indexOf(",") > -1 ? "," : " ";
rgb = rgb.substr(4).split(")")[0].split(sep);
// Convert %s to 0–255
for (let R in rgb) {
let r = rgb[R];
if (r.indexOf("%") > -1)
rgb[R] = Math.round(r.substr(0,r.length - 1) / 100 * 255);
/* Example:
75% -> 191
75/100 = 0.75, * 255 = 191.25 -> 191
*/
}
...
}Now we can supply values like either of these:
rgb(255,25,2)rgb(255 25 2)rgb(50%,30%,10%)rgb(50% 30% 10%)Converting RGBA to hex with the #rgba or #rrggbbaa notation follows virtually the same process as the opaque counterpart. Since the alpha (a) is normally a value between 0 and 1, we need to multiply it by 255, round the result, then convert it to hexadecimal.
function RGBAToHexA(r,g,b,a) {
r = r.toString(16);
g = g.toString(16);
b = b.toString(16);
a = Math.round(a * 255).toString(16);
if (r.length == 1)
r = "0" + r;
if (g.length == 1)
g = "0" + g;
if (b.length == 1)
b = "0" + b;
if (a.length == 1)
a = "0" + a;
return "#" + r + g + b + a;
}To do this with one string (including with percentages), we can follow what we did earlier. Also note the extra step of splicing out a slash. Since CSS Colors Level 4 supports the syntax of rgba(r g b / a), this is where we allow it. Alpha values can now be percentages! This removes the 0-1-only shackles we used to have. Therefore, the for loop cycling through rgba shall include a part to wipe the % from the alpha without multiplying by 255 (when R is 3 for alpha). Soon we can use values like rgba(255 128 0 / 0.8) and rgba(100% 21% 100% / 30%)!
function RGBAToHexA(rgba) {
let sep = rgba.indexOf(",") > -1 ? "," : " ";
rgba = rgba.substr(5).split(")")[0].split(sep);
// Strip the slash if using space-separated syntax
if (rgba.indexOf("/") > -1)
rgba.splice(3,1);
for (let R in rgba) {
let r = rgba[R];
if (r.indexOf("%") > -1) {
let p = r.substr(0,r.length - 1) / 100;
if (R < 3) {
rgba[R] = Math.round(p * 255);
} else {
rgba[R] = p;
}
}
}
}Then, where the channels are converted to hex, we adjust a to use an item of rgba[].
function RGBAToHexA(rgba) {
...
let r = (+rgba[0]).toString(16),
g = (+rgba[1]).toString(16),
b = (+rgba[2]).toString(16),
a = Math.round(+rgba[3] * 255).toString(16);
if (r.length == 1)
r = "0" + r;
if (g.length == 1)
g = "0" + g;
if (b.length == 1)
b = "0" + b;
if (a.length == 1)
a = "0" + a;
return "#" + r + g + b + a;
}Now the function supports the following:
rgba(255,25,2,0.5)rgba(255 25 2 / 0.5)rgba(50%,30%,10%,0.5)rgba(50%,30%,10%,50%)rgba(50% 30% 10% / 0.5)rgba(50% 30% 10% / 50%)We know that the length of hex values must either be 3 or 6 (plus #). In either case, we begin each red (r), green (g), and blue (b) value with "0x" to convert them to hex. If we provide a 3-digit value, we concatenate the same value twice for each channel. If it’s a 6-digit value, we concatenate the first two for red, next two for green, and last two for blue. To get the values for the final rgb() string, we prepend the variables with + to convert them from strings back to numbers, which will yield the decimals we need.
function hexToRGB(h) {
let r = 0, g = 0, b = 0;
// 3 digits
if (h.length == 4) {
r = "0x" + h[1] + h[1];
g = "0x" + h[2] + h[2];
b = "0x" + h[3] + h[3];
// 6 digits
} else if (h.length == 7) {
r = "0x" + h[1] + h[2];
g = "0x" + h[3] + h[4];
b = "0x" + h[5] + h[6];
}
return "rgb("+ +r + "," + +g + "," + +b + ")";
}If we want to return rgb() using percentages, then we can modify the function to utilize an optional isPct parameter like so:
function hexToRGB(h,isPct) {
let r = 0, g = 0, b = 0;
isPct = isPct === true;
if (h.length == 4) {
r = "0x" + h[1] + h[1];
g = "0x" + h[2] + h[2];
b = "0x" + h[3] + h[3];
} else if (h.length == 7) {
r = "0x" + h[1] + h[2];
g = "0x" + h[3] + h[4];
b = "0x" + h[5] + h[6];
}
if (isPct) {
r = +(r / 255 * 100).toFixed(1);
g = +(g / 255 * 100).toFixed(1);
b = +(b / 255 * 100).toFixed(1);
}
return "rgb(" + (isPct ? r + "%," + g + "%," + b + "%" : +r + "," + +g + "," + +b) + ")";
}Under the last if statement, using +s will convert r, g, and b to numbers. Each toFixed(1) along with them will round the result to the nearest tenth. Additionally, we won’t have whole numbers with .0 or the decades old quirk that produces numbers like 0.30000000000000004. Therefore, in the return, we omitted the +s right before the first r, g, and b to prevent NaNs caused by the %s. Now we can use hexToRGB("#ff0",true) to get rgb(100%,100%,0%)!
The procedure for hex values with alpha should again be similar with the last. We simply detect a 4- or 8-digit value (plus #) then convert the alpha and divide it by 255. To get more precise output but not long decimal numbers for alpha, we can use toFixed(3).
function hexAToRGBA(h) {
let r = 0, g = 0, b = 0, a = 1;
if (h.length == 5) {
r = "0x" + h[1] + h[1];
g = "0x" + h[2] + h[2];
b = "0x" + h[3] + h[3];
a = "0x" + h[4] + h[4];
} else if (h.length == 9) {
r = "0x" + h[1] + h[2];
g = "0x" + h[3] + h[4];
b = "0x" + h[5] + h[6];
a = "0x" + h[7] + h[8];
}
a = +(a / 255).toFixed(3);
return "rgba(" + +r + "," + +g + "," + +b + "," + a + ")";
}For a version that outputs percentages, we can do what we did in hexToRGB()—switch r, g, and b to 0–100% when isPct is true.
function hexAToRGBA(h,isPct) {
let r = 0, g = 0, b = 0, a = 1;
isPct = isPct === true;
// Handling of digits
...
if (isPct) {
r = +(r / 255 * 100).toFixed(1);
g = +(g / 255 * 100).toFixed(1);
b = +(b / 255 * 100).toFixed(1);
}
a = +(a / 255).toFixed(3);
return "rgba(" + (isPct ? r + "%," + g + "%," + b + "%," + a : +r + "," + +g + "," + +b + "," + a) + ")";
}Here’s a quick fix if the alpha ought to be a percentage, too: move the statement where a is redefined above the last if statement. Then in that statement, modify a to be like r, g, and b. When isPct is true, a must also gain the %.
function hexAToRGBA(h,isPct) {
...
a = +(a / 255).toFixed(3);
if (isPct) {
r = +(r / 255 * 100).toFixed(1);
g = +(g / 255 * 100).toFixed(1);
b = +(b / 255 * 100).toFixed(1);
a = +(a * 100).toFixed(1);
}
return "rgba(" + (isPct ? r + "%," + g + "%," + b + "%," + a + "%" : +r + "," + +g + "," + +b + "," + a) + ")";
}When we enter #7f7fff80 now, we should get rgba(127,127,255,0.502) or rgba(49.8%,49.8%,100%,50.2%).
Obtaining HSL values from RGB or hex is a bit more challenging because there’s a larger formula involved. First, we must divide the red, green, and blue by 255 to use values between 0 and 1. Then we find the minimum and maximum of those values (cmin and cmax) as well as the difference between them (delta). We need that result as part of calculating the hue and saturation. Right after the delta, let’s initialize the hue (h), saturation (s), and lightness (l).
function RGBToHSL(r,g,b) {
// Make r, g, and b fractions of 1
r /= 255;
g /= 255;
b /= 255;
// Find greatest and smallest channel values
let cmin = Math.min(r,g,b),
cmax = Math.max(r,g,b),
delta = cmax - cmin,
h = 0,
s = 0,
l = 0;
}Next, we need to calculate the hue, which is to be determined by the greatest channel value in cmax (or if all channels are the same). If there is no difference between the channels, the hue will be 0. If cmax is the red, then the formula will be ((g - b) / delta) % 6. If green, then (b - r) / delta + 2. Then, if blue, (r - g) / delta + 4. Finally, multiply the result by 60 (to get the degree value) and round it. Since hues shouldn’t be negative, we add 360 to it, if needed.
function RGBToHSL(r,g,b) {
...
// Calculate hue
// No difference
if (delta == 0)
h = 0;
// Red is max
else if (cmax == r)
h = ((g - b) / delta) % 6;
// Green is max
else if (cmax == g)
h = (b - r) / delta + 2;
// Blue is max
else
h = (r - g) / delta + 4;
h = Math.round(h * 60);
// Make negative hues positive behind 360°
if (h < 0)
h += 360;
}All that’s left is the saturation and lightness. Let’s calculate the lightness before we do the saturation, as the saturation will depend on it. It’s the sum of the maximum and minimum channel values cut in half ((cmax + cmin) / 2). Then delta will determine what the saturation will be. If it’s 0 (no difference between cmax and cmin), then the saturation is automatically 0. Otherwise, it’ll be 1 minus the absolute value of twice the lightness minus 1 (1 - Math.abs(2 * l - 1)). Once we have these values, we must convert them to values out of 100%, so we multiply them by 100 and round to the nearest tenth. Now we can string together our hsl().
function RGBToHSL(r,g,b) {
...
// Calculate lightness
l = (cmax + cmin) / 2;
// Calculate saturation
s = delta == 0 ? 0 : delta / (1 - Math.abs(2 * l - 1));
// Multiply l and s by 100
s = +(s * 100).toFixed(1);
l = +(l * 100).toFixed(1);
return "hsl(" + h + "," + s + "%," + l + "%)";
}For one string, split the argument by comma or space, strip the %s, and localize r, g, and b like we did before.
function RGBToHSL(rgb) {
let sep = rgb.indexOf(",") > -1 ? "," : " ";
rgb = rgb.substr(4).split(")")[0].split(sep);
for (let R in rgb) {
let r = rgb[R];
if (r.indexOf("%") > -1)
rgb[R] = Math.round(r.substr(0,r.length - 1) / 100 * 255);
}
// Make r, g, and b fractions of 1
let r = rgb[0] / 255,
g = rgb[1] / 255,
b = rgb[2] / 255;
...
}Compared to what we just did to convert RGB to HSL, the alpha counterpart will be basically nothing! We just reuse the code for RGB to HSL (the multi-argument version), leave a alone, and pass a to the returned HSLA. Keep in mind it should be between 0 and 1.
function RGBAToHSLA(r,g,b,a) {
// Code for RGBToHSL(r,g,b) before return
...
return "hsla(" + h + "," + s + "%," +l + "%," + a + ")";
}For string values, we apply the splitting and stripping logic again but use the fourth item in rgba for a. Remember the new rgba(r g b / a) syntax? We’re employing the acceptance of it as we did for RGBAToHexA(). Then the rest of the code is the normal RGB-to-HSL conversion.
function RGBAToHSLA(rgba) {
let sep = rgba.indexOf(",") > -1 ? "," : " ";
rgba = rgba.substr(5).split(")")[0].split(sep);
// Strip the slash if using space-separated syntax
if (rgba.indexOf("/") > -1)
rgba.splice(3,1);
for (let R in rgba) {
let r = rgba[R];
if (r.indexOf("%") > -1) {
let p = r.substr(0,r.length - 1) / 100;
if (R < 3) {
rgba[R] = Math.round(p * 255);
} else {
rgba[R] = p;
}
}
}
// Make r, g, and b fractions of 1
let r = rgba[0] / 255,
g = rgba[1] / 255,
b = rgba[2] / 255,
a = rgba[3];
// Rest of RGB-to-HSL logic
...
}Wish to leave the alpha as is? Remove the else statement from the for loop.
for (let R in rgba) {
let r = rgba[R];
if (r.indexOf("%") > -1) {
let p = r.substr(0,r.length - 1) / 100;
if (R < 3) {
rgba[R] = Math.round(p * 255);
}
}
}It takes slightly less logic to convert HSL back to RGB than the opposite way. Since we’ll use a range of 0–100 for the saturation and lightness, the first step is to divide them by 100 to values between 0 and 1. Next, we find chroma (c), which is color intensity, so that’s (1 - Math.abs(2 * l - 1)) * s. Then we use x for the second largest component (first being chroma), the amount to add to each channel to match the lightness (m), and initialize r, g, b.
function HSLToRGB(h,s,l) {
// Must be fractions of 1
s /= 100;
l /= 100;
let c = (1 - Math.abs(2 * l - 1)) * s,
x = c * (1 - Math.abs((h / 60) % 2 - 1)),
m = l - c/2,
r = 0,
g = 0,
b = 0;
}The hue will determine what the red, green, and blue should be depending on which 60° sector of the color wheel it lies.
Then c and x shall be assigned as shown below, leaving one channel at 0. To get the final RGB value, we add m to each channel, multiply it by 255, and round it.
function HSLToRGB(h,s,l) {
...
if (0 <= h && h < 60) {
r = c; g = x; b = 0;
} else if (60 <= h && h < 120) {
r = x; g = c; b = 0;
} else if (120 <= h && h < 180) {
r = 0; g = c; b = x;
} else if (180 <= h && h < 240) {
r = 0; g = x; b = c;
} else if (240 <= h && h < 300) {
r = x; g = 0; b = c;
} else if (300 <= h && h < 360) {
r = c; g = 0; b = x;
}
r = Math.round((r + m) * 255);
g = Math.round((g + m) * 255);
b = Math.round((b + m) * 255);
return "rgb(" + r + "," + g + "," + b + ")";
}For the single string version, we modify the first few statements basically the same way we did for RGBToHSL(r,g,b). Remove s /= 100; and l /= 100; and we’ll use the new statements to wipe the first 4 characters and the ) for our array of HSL values, then the %s from s and l before dividing them by 100.
function HSLToRGB(hsl) {
let sep = hsl.indexOf(",") > -1 ? "," : " ";
hsl = hsl.substr(4).split(")")[0].split(sep);
let h = hsl[0],
s = hsl[1].substr(0,hsl[1].length - 1) / 100,
l = hsl[2].substr(0,hsl[2].length - 1) / 100;
...
}The next handful of statements shall handle hues provided with a unit—degrees, radians, or turns. We multiply radians by 180/π and turns by 360. If the result ends up over 360, we compound modulus divide to keep it within the scope. All of this will happen before we deal with c, x, and m.
function HSLToRGB(hsl) {
...
// Strip label and convert to degrees (if necessary)
if (h.indexOf("deg") > -1)
h = h.substr(0,h.length - 3);
else if (h.indexOf("rad") > -1)
h = Math.round(h.substr(0,h.length - 3) * (180 / Math.PI));
else if (h.indexOf("turn") > -1)
h = Math.round(h.substr(0,h.length - 4) * 360);
// Keep hue fraction of 360 if ending up over
if (h >= 360)
h %= 360;
// Conversion to RGB begins
...
}After implementing the steps above, now the following can be safely used:
hsl(180 100% 50%)hsl(180deg,100%,50%)hsl(180deg 100% 50%)hsl(3.14rad,100%,50%)hsl(3.14rad 100% 50%)hsl(0.5turn,100%,50%)hsl(0.5turn 100% 50%)Whew, that’s quite the flexibility!
Similarly, we can modify this function to return percent values just like we did in hexToRGB().
function HSLToRGB(hsl,isPct) {
let sep = hsl.indexOf(",") > -1 ? "," : " ";
hsl = hsl.substr(4).split(")")[0].split(sep);
isPct = isPct === true;
...
if (isPct) {
r = +(r / 255 * 100).toFixed(1);
g = +(g / 255 * 100).toFixed(1);
b = +(b / 255 * 100).toFixed(1);
}
return "rgb("+ (isPct ? r + "%," + g + "%," + b + "%" : +r + "," + +g + "," + +b) + ")";
}Once again, handling alphas will be a no-brainer. We can reapply the code for the original HSLToRGB(h,s,l) and add a to the return.
function HSLAToRGBA(h,s,l,a) {
// Code for HSLToRGB(h,s,l) before return
...
return "rgba(" + r + "," + g + "," + b + "," + a + ")";
}Changing it to one argument, the way we’ll handle strings here will be not too much different than what we did earlier. A new HSLA syntax from Colors Level 4 uses (value value value / value) just like RGBA, so having the code to handle it, we’ll be able to plug in something like hsla(210 100% 50% / 0.5) here.
function HSLAToRGBA(hsla) {
let sep = hsla.indexOf(",") > -1 ? "," : " ";
hsla = hsla.substr(5).split(")")[0].split(sep);
if (hsla.indexOf("/") > -1)
hsla.splice(3,1);
let h = hsla[0],
s = hsla[1].substr(0,hsla[1].length - 1) / 100,
l = hsla[2].substr(0,hsla[2].length - 1) / 100,
a = hsla[3];
if (h.indexOf("deg") > -1)
h = h.substr(0,h.length - 3);
else if (h.indexOf("rad") > -1)
h = Math.round(h.substr(0,h.length - 3) * (180 / Math.PI));
else if (h.indexOf("turn") > -1)
h = Math.round(h.substr(0,h.length - 4) * 360);
if (h >= 360)
h %= 360;
...
}Furthermore, these other combinations have become possible:
hsla(180,100%,50%,50%)hsla(180 100% 50% / 50%)hsla(180deg,100%,50%,0.5)hsla(3.14rad,100%,50%,0.5)hsla(0.5turn 100% 50% / 50%)Then we can replicate the same logic for outputting percentages, including alpha. If the alpha should be a percentage (searched in pctFound), here’s how we can handle it:
r, g, and b are to be converted to percentages, then a should be multiplied by 100, if not already a percentage. Otherwise, drop the %, and it’ll be added back in the return.r, g, and b should be left alone, then remove the % from a and divide a by 100.function HSLAToRGBA(hsla,isPct) {
// Code up to slash stripping
...
isPct = isPct === true;
// h, s, l, a defined to rounding of r, g, b
...
let pctFound = a.indexOf("%") > -1;
if (isPct) {
r = +(r / 255 * 100).toFixed(1);
g = +(g / 255 * 100).toFixed(1);
b = +(b / 255 * 100).toFixed(1);
if (!pctFound) {
a *= 100;
} else {
a = a.substr(0,a.length - 1);
}
} else if (pctFound) {
a = a.substr(0,a.length - 1) / 100;
}
return "rgba("+ (isPct ? r + "%," + g + "%," + b + "%," + a + "%" : +r + ","+ +g + "," + +b + "," + +a) + ")";
}You might think this one and the next are crazier processes than the others, but they merely come in two parts with recycled logic. First, we convert the hex to RGB. That gives us the base 10s we need to convert to HSL.
function hexToHSL(H) {
// Convert hex to RGB first
let r = 0, g = 0, b = 0;
if (H.length == 4) {
r = "0x" + H[1] + H[1];
g = "0x" + H[2] + H[2];
b = "0x" + H[3] + H[3];
} else if (H.length == 7) {
r = "0x" + H[1] + H[2];
g = "0x" + H[3] + H[4];
b = "0x" + H[5] + H[6];
}
// Then to HSL
r /= 255;
g /= 255;
b /= 255;
let cmin = Math.min(r,g,b),
cmax = Math.max(r,g,b),
delta = cmax - cmin,
h = 0,
s = 0,
l = 0;
if (delta == 0)
h = 0;
else if (cmax == r)
h = ((g - b) / delta) % 6;
else if (cmax == g)
h = (b - r) / delta + 2;
else
h = (r - g) / delta + 4;
h = Math.round(h * 60);
if (h < 0)
h += 360;
l = (cmax + cmin) / 2;
s = delta == 0 ? 0 : delta / (1 - Math.abs(2 * l - 1));
s = +(s * 100).toFixed(1);
l = +(l * 100).toFixed(1);
return "hsl(" + h + "," + s + "%," + l + "%)";
}There aren’t too many lines that change in this one. We’ll repeat what we recently did to get the alpha by converting the hex, but won’t divide it by 255 right away. First, we must get the hue, saturation, and lightness as we did in the other to-HSL functions. Then, before the ending return, we divide the alpha and set the decimal places.
function hexAToHSLA(H) {
let r = 0, g = 0, b = 0, a = 1;
if (H.length == 5) {
r = "0x" + H[1] + H[1];
g = "0x" + H[2] + H[2];
b = "0x" + H[3] + H[3];
a = "0x" + H[4] + H[4];
} else if (H.length == 9) {
r = "0x" + H[1] + H[2];
g = "0x" + H[3] + H[4];
b = "0x" + H[5] + H[6];
a = "0x" + H[7] + H[8];
}
// Normal conversion to HSL
...
a = (a / 255).toFixed(3);
return "hsla("+ h + "," + s + "%," + l + "%," + a + ")";
}This one starts as a conversion to RGB, but there’s an extra step to the Math.round()s of converting the RGB results to hex.
function HSLToHex(h,s,l) {
s /= 100;
l /= 100;
let c = (1 - Math.abs(2 * l - 1)) * s,
x = c * (1 - Math.abs((h / 60) % 2 - 1)),
m = l - c/2,
r = 0,
g = 0,
b = 0;
if (0 <= h && h < 60) {
r = c; g = x; b = 0;
} else if (60 <= h && h < 120) {
r = x; g = c; b = 0;
} else if (120 <= h && h < 180) {
r = 0; g = c; b = x;
} else if (180 <= h && h < 240) {
r = 0; g = x; b = c;
} else if (240 <= h && h < 300) {
r = x; g = 0; b = c;
} else if (300 <= h && h < 360) {
r = c; g = 0; b = x;
}
// Having obtained RGB, convert channels to hex
r = Math.round((r + m) * 255).toString(16);
g = Math.round((g + m) * 255).toString(16);
b = Math.round((b + m) * 255).toString(16);
// Prepend 0s, if necessary
if (r.length == 1)
r = "0" + r;
if (g.length == 1)
g = "0" + g;
if (b.length == 1)
b = "0" + b;
return "#" + r + g + b;
}Even the first few lines of this function will be like those in HSLToRGB() if we changed it to accept a single string. This is how we’ve been obtaining the hue, saturation, and lightness separately in the first place. Let’s not forget the step to remove the hue label and convert to degrees, too. All of this will be in place of s /= 100; and l /= 100;.
function HSLToHex(hsl) {
let sep = hsl.indexOf(",") > -1 ? "," : " ";
hsl = hsl.substr(4).split(")")[0].split(sep);
let h = hsl[0],
s = hsl[1].substr(0,hsl[1].length - 1) / 100,
l = hsl[2].substr(0,hsl[2].length - 1) / 100;
// Strip label and convert to degrees (if necessary)
if (h.indexOf("deg") > -1)
h = h.substr(0,h.length - 3);
else if (h.indexOf("rad") > -1)
h = Math.round(h.substr(0,h.length - 3) * (180 / Math.PI));
else if (h.indexOf("turn") > -1)
h = Math.round(h.substr(0,h.length - 4) * 360);
if (h >= 360)
h %= 360;
...
}Adding alpha to the mix, we convert a to hex and add a fourth if to prepend a 0, if necessary. You probably already familiar with this logic because we last used it in RGBAToHexA().
function HSLAToHexA(h,s,l,a) {
// Repeat code from HSLToHex(h,s,l) until 3 `toString(16)`s
...
a = Math.round(a * 255).toString(16);
if (r.length == 1)
r = "0" + r;
if (g.length == 1)
g = "0" + g;
if (b.length == 1)
b = "0" + b;
if (a.length == 1)
a = "0" + a;
return "#" + r + g + b + a;
}Finally, the lines of the single argument version up to a = hsla[3] are no different than those of HSLAToRGBA().
function HSLAToHexA(hsla) {
let sep = hsla.indexOf(",") > -1 ? "," : " ";
hsla = hsla.substr(5).split(")")[0].split(sep);
// Strip the slash
if (hsla.indexOf("/") > -1)
hsla.splice(3,1);
let h = hsla[0],
s = hsla[1].substr(0,hsla[1].length - 1) / 100,
l = hsla[2].substr(0,hsla[2].length - 1) / 100,
a = hsla[3];
...
}To convert a named color to RGB, hex, or HSL, you might consider turning this table of 140+ names and hex values into a massive object at the start. The truth is that we really don’t need one because here’s what we can do:
So, our function to get RGB will only be seven statements!
function nameToRGB(name) {
// Create fake div
let fakeDiv = document.createElement("div");
fakeDiv.style.color = name;
document.body.appendChild(fakeDiv);
// Get color of div
let cs = window.getComputedStyle(fakeDiv),
pv = cs.getPropertyValue("color");
// Remove div after obtaining desired color value
document.body.removeChild(fakeDiv);
return pv;
}Let’s go even further. How about we change the output to hex instead?
function nameToHex(name) {
// Get RGB from named color in temporary div
let fakeDiv = document.createElement("div");
fakeDiv.style.color = name;
document.body.appendChild(fakeDiv);
let cs = window.getComputedStyle(fakeDiv),
pv = cs.getPropertyValue("color");
document.body.removeChild(fakeDiv);
// Code ripped from RGBToHex() (except pv is substringed)
let rgb = pv.substr(4).split(")")[0].split(","),
r = (+rgb[0]).toString(16),
g = (+rgb[1]).toString(16),
b = (+rgb[2]).toString(16);
if (r.length == 1)
r = "0" + r;
if (g.length == 1)
g = "0" + g;
if (b.length == 1)
b = "0" + b;
return "#" + r + g + b;
}Or, why not HSL? 😉
function nameToHSL(name) {
let fakeDiv = document.createElement("div");
fakeDiv.style.color = name;
document.body.appendChild(fakeDiv);
let cs = window.getComputedStyle(fakeDiv),
pv = cs.getPropertyValue("color");
document.body.removeChild(fakeDiv);
// Code ripped from RGBToHSL() (except pv is substringed)
let rgb = pv.substr(4).split(")")[0].split(","),
r = rgb[0] / 255,
g = rgb[1] / 255,
b = rgb[2] / 255,
cmin = Math.min(r,g,b),
cmax = Math.max(r,g,b),
delta = cmax - cmin,
h = 0,
s = 0,
l = 0;
if (delta == 0)
h = 0;
else if (cmax == r)
h = ((g - b) / delta) % 6;
else if (cmax == g)
h = (b - r) / delta + 2;
else
h = (r - g) / delta + 4;
h = Math.round(h * 60);
if (h < 0)
h += 360;
l = (cmax + cmin) / 2;
s = delta == 0 ? 0 : delta / (1 - Math.abs(2 * l - 1));
s = +(s * 100).toFixed(1);
l = +(l * 100).toFixed(1);
return "hsl(" + h + "," + s + "%," + l + "%)";
}In the long run, every conversion from a name becomes a conversion from RGB after cracking the name.
In all these functions, there haven’t been any measures to prevent or correct ludicrous input (say hues over 360 or percentages over 100). If we’re only manipulating pixels on a <canvas> fetched using getImageData(), validation of color values isn’t necessary before converting because they’ll be correct no matter what. If we’re creating a color conversion tool where users supply the color, then validation would be much needed.
It’s easy to handle improper input for channels as separate arguments, like this for RGB:
// Correct red
if (r > 255)
r = 255;
else if (r < 0)
r = 0;If validating a whole string, then a regular expression is needed. For instance, this is the RGBToHex() function given a validation step with an expression:
function RGBToHex(rgb) {
// Expression for rgb() syntaxes
let ex = /^rgb\((((((((1?[1-9]?\d)|10\d|(2[0-4]\d)|25[0-5]),\s?)){2}|((((1?[1-9]?\d)|10\d|(2[0-4]\d)|25[0-5])\s)){2})((1?[1-9]?\d)|10\d|(2[0-4]\d)|25[0-5]))|((((([1-9]?\d(\.\d+)?)|100|(\.\d+))%,\s?){2}|((([1-9]?\d(\.\d+)?)|100|(\.\d+))%\s){2})(([1-9]?\d(\.\d+)?)|100|(\.\d+))%))\)$/i;
if (ex.test(rgb)) {
// Logic to convert RGB to hex
...
} else {
// Something to do if color is invalid
}
}To test other types of values, below is a table of expressions to cover both opaque and alpha-enabled:
| Color Value | RegEx |
|---|---|
| RGB | /^rgb\((((((((1?[1-9]?\d)|10\d|(2[0-4]\d)|25[0-5]),\s?)){2}|((((1?[1-9]?\d)|10\d|(2[0-4]\d)|25[0-5])\s)){2})((1?[1-9]?\d)|10\d|(2[0-4]\d)|25[0-5]))|((((([1-9]?\d(\.\d+)?)|100|(\.\d+))%,\s?){2}|((([1-9]?\d(\.\d+)?)|100|(\.\d+))%\s){2})(([1-9]?\d(\.\d+)?)|100|(\.\d+))%))\)$/i |
| RGBA | /^rgba\((((((((1?[1-9]?\d)|10\d|(2[0-4]\d)|25[0-5]),\s?)){3})|(((([1-9]?\d(\.\d+)?)|100|(\.\d+))%,\s?){3}))|(((((1?[1-9]?\d)|10\d|(2[0-4]\d)|25[0-5])\s){3})|(((([1-9]?\d(\.\d+)?)|100|(\.\d+))%\s){3}))\/\s)((0?\.\d+)|[01]|(([1-9]?\d(\.\d+)?)|100|(\.\d+))%)\)$/i |
| Hex | /^#([\da-f]{3}){1,2}$/i |
| Hex (with Alpha) | /^#([\da-f]{4}){1,2}$/i |
| HSL | /^hsl\(((((([12]?[1-9]?\d)|[12]0\d|(3[0-5]\d))(\.\d+)?)|(\.\d+))(deg)?|(0|0?\.\d+)turn|(([0-6](\.\d+)?)|(\.\d+))rad)((,\s?(([1-9]?\d(\.\d+)?)|100|(\.\d+))%){2}|(\s(([1-9]?\d(\.\d+)?)|100|(\.\d+))%){2})\)$/i |
| HSLA | /^hsla\(((((([12]?[1-9]?\d)|[12]0\d|(3[0-5]\d))(\.\d+)?)|(\.\d+))(deg)?|(0|0?\.\d+)turn|(([0-6](\.\d+)?)|(\.\d+))rad)(((,\s?(([1-9]?\d(\.\d+)?)|100|(\.\d+))%){2},\s?)|((\s(([1-9]?\d(\.\d+)?)|100|(\.\d+))%){2}\s\/\s))((0?\.\d+)|[01]|(([1-9]?\d(\.\d+)?)|100|(\.\d+))%)\)$/i |
Looking at the expressions for RGB(A) and HSL(A), you probably have big eyes right now; these were made comprehensive enough to include most of the new syntaxes from CSS Colors Level 4. Hex, on the other hand, doesn’t need expressions as long as the others because of only digit counts. In a moment, we’ll dissect these and decipher the parts. Note that case-insensitive values (/i) pass all these.
/^rgb\((((((((1?[1-9]?\d)|10\d|(2[0-4]\d)|25[0-5]),\s?)){2}|((((1?[1-9]?\d)|10\d|(2[0-4]\d)|25[0-5])\s)){2})((1?[1-9]?\d)|10\d|(2[0-4]\d)|25[0-5]))|((((([1-9]?\d(\.\d+)?)|100|(\.\d+))%,\s?){2}|((([1-9]?\d(\.\d+)?)|100|(\.\d+))%\s){2})(([1-9]?\d(\.\d+)?)|100|(\.\d+))%))\)$/iBecause rgb() accepts either all integers or all percentages, both cases are covered. In the outmost group, between the ^rgb\( and \)$, there are inner groups for both integers and percentages, all comma-spaces or spaces only as separators:
(((((1?[1-9]?\d)|10\d|(2[0-4]\d)|25[0-5]),\s?){2}|(((1?[1-9]?\d)|10\d|(2[0-4]\d)|25[0-5])\s){2})((1?[1-9]?\d)|10\d|(2[0-4]\d)|25[0-5]))((((([1-9]?\d(\.\d+)?)|100|(\.\d+))%,\s?){2}|((([1-9]?\d(\.\d+)?)|100|(\.\d+))%\s){2})(([1-9]?\d(\.\d+)?)|100|(\.\d+))%)In the first half, we accept two instances of integers for red and green from 0–99 or 111-199 ((1?[1-9]?\d)), 100–109 (10\d), 200-249 ((2[0-4]\d)), or 250–255 (25[0-5]). We couldn’t simply do \d{1,3} because values like 03 or 017 and those greater than 255 shouldn’t be allowed. After that goes the comma and optional space (,\s?). On the other side of the |, after the first {2} (which indicates two instances of integers), we check for the same thing with space separators if the left side is false. Then for blue, the same should be accepted, but without a separator.
In the other half, acceptable values for percentages, including floats, should either be 0–99, explicitly 100 and not a float, or floats under 1 with the 0 dropped. Therefore, the segment here is (([1-9]?\d(\.\d+)?)|100|(\.\d+)), and it appears three times; twice with separator (,\s?){2}, %\s){2}), once without.
It is legal to use percentages without space separators (rgb(100%50%10%) for instance) in CSS, but the functions we wrote don’t support that. The same goes for rgba(100%50%10%/50%), hsl(40 100%50%), and hsla(40 100%50%/0.5). This could very well be a plus for code golfing and minification!
/^rgba\((((((((1?[1-9]?\d)|10\d|(2[0-4]\d)|25[0-5]),\s?)){3})|(((([1-9]?\d(\.\d+)?)|100|(\.\d+))%,\s?){3}))|(((((1?[1-9]?\d)|10\d|(2[0-4]\d)|25[0-5])\s){3})|(((([1-9]?\d(\.\d+)?)|100|(\.\d+))%\s){3}))\/\s)((0?\.\d+)|[01]|(([1-9]?\d(\.\d+)?)|100|(\.\d+))%)\)$/iThe next expression is very similar to the pervious, but three instances of integers (((((1?[1-9]?\d)|10\d|(2[0-4]\d)|25[0-5]),\s?){3})) or percentages ((((([1-9]?\d(\.\d+)?)|100|(\.\d+))%,\s?){3})), plus comma optional space are checked. Otherwise, it looks for the same thing but with space separators, plus a slash and space (\/\s) after the blue. Next to that is ((0?\.\d+)|[01]|(([1-9]?\d(\.\d+)?)|100|(\.\d+))%) where we accept floats with or without the first 0 ((0?\.\d+)), 0 or 1 ([01]) on the dot, or 0–100% ((([1-9]?\d(\.\d+)?)|100|(\.\d+))%).
// #rgb/#rrggbb
/^#([\da-f]{3}){1,2}$/i
// #rgba/#rrggbbaa
/^#([\da-f]{4}){1,2}$/iFor both hex—with and without alpha—instances of numbers or letters a–f ([\da-f]) are accepted. Then one or two instances of this are counted for either short or longhand values supplied (#rgb or #rrggbb). As an illustration, we have this same short pattern: /^#([\da-f]{n}){1,2}$/i. Simply change n to 3 or 4.
// HSL
/^hsl\((((((\[12]?[1-9]?\d)|[12]0\d|(3[0-5]\d))(\.\d+)?)|(\.\d+))(deg)?|(0|0?\.\d+)turn|(([0-6\\.\d+)?)|(\.\d+))rad)((,\s?(([1-9]?\d(\.\d+)?)|100|(\.\d+))%){2}|(\s(([1-9]?\d(\.\d+)?)|100|(\.\d+))%){2})\)$/i
// HSLA
/^hsla\((((((\[12]?[1-9]?\d)|[12]0\d|(3[0-5]\d))(\.\d+)?)|(\.\d+))(deg)?|(0|0?\.\d+)turn|(([0-6\\.\d+)?)|(\.\d+))rad)(((,\s?(([1-9]?\d(\.\d+)?)|100|(\.\d+))%){2},\s?)|((\s(([1-9]?\d(\.\d+)?)|100|(\.\d+))%){2}\s\/\s))((0?\.\d+)|[01]|(([1-9]?\d(\.\d+)?)|100|(\.\d+))%)\)$/iAfter the \( in both expressions for HSL and HSLA, this large chunk is for the hue:
(((((\[12]?[1-9]?\d)|[12]0\d|(3[0-5]\d))(\.\d+)?)|(\.\d+))(deg)?|(0|0?\.\d+)turn|(([0-6\\.\d+)?)|(\.\d+))rad)([12]?[1-9]?\d) covers 0–99, 110–199, and 210–299. [12]0\d covers 110–109 and 200–209. Then (3[0-5]\d) takes care of 300–359. The reason for this division of ranges is similar to that of integers in the rgb() syntax: ruling out zeros coming first and values greater than the maximum. Since hues can be floating point numbers, the first (\.\d+)? is for that.
Next to the | after the aforementioned segment of code, the second (\.\d+) is for floats without a leading zero.
Now let’s move up a level and decipher the next small chunk:
(deg)?|(0|0?\.\d+)turn|((\[0-6\\.\d+)?)|(\.\d+))radThis contains the labels we can use for the hue—degrees, turns, or radians. We can include all or none of deg. Values in turn must be under 1. For radians, we can accept any float between 0–7. We do know, however, that one 360° turn is 2π, and it stops approximately at 6.28. You may think 6.3 and over shouldn’t be accepted. Because 2π is an irrational number, it would be too messy for this example to try to satisfy every decimal place provided by the JavaScript console. Besides, we have this snippet in our HSLTo_() functions as a second layer of security if hues 360° or over were to happen:
// Keep hue fraction of 360 if ending up over
if (h >= 360)
h %= 360;Now let’s move up a level and decipher the second chunk:
(,\s?(([1-9]?\d(\.\d+)?)|100|(\.\d+))%){2}We’re counting two instances of comma-space-percentages for the saturation and lightness (space optional). In the group after the ,\s?, we test for values 0–99 with or without decimal points (([1-9]?\d(\.\d+)?)), exactly 100, or floats under 1 without the leading 0 ((\.\d+)).
The last part the HSL expression, before the ending (\)$/i), is a similar expression if spaces are the only separator:
(\s(([1-9]?\d(\.\d+)?)|100|(\.\d+))%){2}\s is in the beginning instead of ,\s?. Then in the HSLA expression, this same chunk is inside another group with ,\s? after its {2}.
((,\s?(([1-9]?\d(\.\d+)?)|100|(\.\d+))%){2},\s?)That counts the comma-space between the lightness and alpha. Then if we have spaces as separators, we need to check for a space-slash-space (\s\/\s) after counting two instances of space and a percentage.
((\s(([1-9]?\d(\.\d+)?)|100|(\.\d+))%){2}\s\/\s))After that, we have this left to check the alpha value:
(((0?\.\d+)|[01])|(([1-9]?\d(\.\d+)?)|100|(\.\d+))%)Matches for (0?\.\d+) include floats under 1 with or without the leading 0, 0 or 1 for [01], and 0–100%.
If your current challenge is to convert one color space to another, you now have some ideas on how to approach it. Because it would be tiresome to walk through converting every color space ever invented in one post, we discussed the most practical and browser-supported ones. If you’d like to go beyond supported color spaces (say CMYK, XYZ, or CIE L*a*b*), EasyRGB) provides an amazing set of code-ready formulas.
To see all the conversions demonstrated here, I’ve set up a CodePen demo that shows inputs and outputs in a table. You can try different colors in lines 2–10 and see the complete functions in the JavaScript panel.
See the Pen Color Conversion by Jon Kantner (@jkantner) on CodePen.
The post Converting Color Spaces in JavaScript appeared first on CSS-Tricks.
Don't miss this video by Heydon that digs into CSS layouts. It's great how he combines fundamental knowledge, like the way elements flow, wrap, and can have margin with new layout methods like flexbox and grid (with specific examples). Of particular note is the clear demonstration of how flexbox and grid help avoid the need to constantly intervene with media queries in order to affect responsive layouts.
So, in place of this...
.sidebar {
float: left;
width: 20rem;
}
.not-sidebar {
float-right: calc(100% - 20rem);
}
@media (max-width: 40rem) {
.sidebar, .not-sidebar {
float: none;
width: auto.
}
}...something like this:
/* Parent container */
.with-sidebar {
display: flex;
flex-wrap: wrap;
}
.sidebar {
flex-basis: 20rem;
flex-grow: 1;
}
.not-sidebar {
min-width: 50%;
flex-grow: 600;
}This isn't a one-off video either, Heydon's channel has videos on making unusual shapes and custom properties as well.
Direct Link to Article — Permalink
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Within the arsenal of every WordPress developer exists a toolbox of plugins used to implement key features on a website. Forms, up until now, have been a point of contention for most developers, given that no form plugins have offered seamless integration with existing website code. Therefore, forms often become an alien chunk of code requiring custom and time-consuming stylization.
Now there’s a solution: WS Form
WS Form is a developer-focused WordPress form plugin, which outputs framework-ready, responsive HTML5 code. It allows you to rapidly create forms using an innovative layout editor and a plethora of development features.
If you’re developing or implementing a theme using Bootstrap (versions 3 & 4) or Foundation (versions 5, 6 & 6.4+), WS Form will output code that is native to those frameworks. For themes that do not use those frameworks, a fallback framework is included that is fully responsive and easy for developers to style.
The WS Form layout editor allows you to edit your form at any breakpoint. Form elements are dragged and dropped into the form, and all responsive CSS classes are handled for you. For developers wanting additional control, each field type comes with a vast array of settings, including the ability to add your own wrapper and field-level classes.
And within WS Form, time travel is real. The undo history feature allows you to step back to any point in your form development and continue from that point forward.
WS Form is the first WordPress form plugin to offer a dedicated debug console for developers.
A time-consuming task, when developing any form, is having to repeatedly populate a form to test it. WS Form is the first WordPress form plugin to offer the ability to automatically populate a form. Simply click "Populate" in the debug console, and the form will be pre-populated with different sample data each time. This dramatically speeds up development time, particularly with larger, multi-tab forms.
The console provides per form instance activity and error logging, as well as the ability to reload a form while still on the same web page.
WS Form includes settings for all form input types. Settings include everything from default values and placeholder text to custom validation messages and datalists. In addition to elementary HTML5 input types, WS Form offers additional fields, such as reCAPTCHA, signatures, and even e-commerce and payment buttons.
Some HTML5 input types, such as date and color selectors, are still not supported in all web browsers. WS Form overcomes this obstacle by checking for native support, and if unavailable, a suitable alternative component is loaded. You have the option of loading that component from your web server or from a CDN.
Conditional logic allows you to make a form interactive and improve usability. For example, you could opt to only show shipping address fields if a checkbox is checked, or you could show an error message if a password confirmation does not match.
WS Form comes with an extensive array of options when creating if, then, and else conditions at form, tab, section, and field levels. Furthermore, conditional options are context sensitive, so, for example, color fields allow you to fire behavior if the hue or lightness of that field matches specified conditions. WS Form even allows you to fire actions, such as sending an email or showing a message, if any condition is met. This could be useful for automatically saving a form as a user steps through tabs on a form.
WS Form actions are fired whenever a form is saved or submitted by a user. Actions can also be fired using conditional logic.
The actions include:
Building a WordPress form in WS Form means you can rapidly prototype and implement forms. With responsive HTML5 code, automatic framework compatibility, and advanced conditional logic, just to name a few of the features, WS Form is changing the way WordPress forms can enhance and empower a website.
Use coupon code CSST20 to receive 20% off any WS Form PRO product!
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Have you been paying attention to the latest web design trends? Typography is getting bigger and bolder! Good typography is essential to a great website. And, what makes a more prominent statement than huge text that gets right in your face and tells you what you need to know?
If you’re considering a redesign for 2019, you’ll want to keep track of the latest trends in web design so that you can see what’s speaking to internet users (and what’s out). These websites have got the right idea – take a look and see how this trend is affecting web design!
When we say big text, we mean it! The homepage is made up of nothing but a directory of large text. It gets straight to the point with just a one-sentence blurb about what the company does, before immediately directing you where you want to go.
Dragon Rouge gets super creative with its typography. It opens with a list of countries it operates in, scrolling by as the gigantic title fades in. Various screen and hover effects involving the distinctive typography present themselves as you explore the site. Make sure you look around to find all the cool text effects!
When you open this site, you’re instantly greeted with a big “hello”! The rest of the site’s headers uses the same eye-grabbing font, establishing consistency and always drawing you in to the important info. The more readable serif body font pairs well with it, too.
Black Sheep combines big, blocky text with interesting visuals to create a really cool effect. This type of typography suits the dark, grungy aesthetic well.
A lot of bold typography tends to look similar: Sans-serif, flat and clearly defined. Nurture Digital uses a more stylized font, and it works really well with the creative, cartoon-like animations. You’ll also find videos with a large letter overlay as you scroll through recent projects, creating a distinct effect.
Besides the awesome animated typography banner, the site uses large, sans-serif headers to draw your eyes towards the most important areas. For a designer, that would be their past work, awards and contact links. This is how you design a modern portfolio!
Your homepage doesn’t need to follow the same tired formula. Sometimes all you need is a little typography. The only place to go is the menu, and here you’ll find more big text directing you to learn more about the company. Inside, you’ll find even more unique text-based page design.
This full-screen website is primarily designed with text and effects, using only occasional images to draw you in. The little effects and additions like the subtle static animation and occasional scribbles tie this presentation together.
A flat, colorful text banner greets you here. As you scroll, the site transitions from carefully crafted paragraphs to elegant images. This site makes expert use of colors and content to create an experience that draws your eye exactly where they want you to look.
This is a neat trick. Overlaying a thin font and a thick one of different colors keeps both words readable. It’s a pretty cool reminder to experiment with your web design. The simple, sans serif header fonts work well with the flat, clean design of the website as well.
Besides the simple text-based homepage navigation, one cool feature of this website is the background. As you browse, the name of the category you’re on will appear there. It’s a cool way to decorate your background using just text.
It’s often best to stick to two or three fonts for a website, but rules are made to be broken. Almanac uses a variety of striking fonts and styling. This works perfectly with the colorful, animated design of the website.
People are getting tired of overly simplistic designs, white websites and elegant subtlety. Right now, the trends are turning towards boldly designed sites that grab your attention. That means colorful design, eye-catching animations – and bold typography!
If you liked the aesthetics of the websites above, take a risk with your design and include some impactful typography in your next website.
At this point in January, I like to think that the new year has just had its second cup of...
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