mirror of
https://github.com/TeamNewPipe/NewPipe
synced 2024-12-24 00:50:32 +00:00
fix differences
This commit is contained in:
commit
4cdf20ab8c
@ -4,6 +4,7 @@ import android.content.Intent;
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import android.net.Uri;
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import android.os.Bundle;
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import android.os.Handler;
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import android.support.v7.app.AppCompatActivity;
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import android.support.v7.widget.LinearLayoutManager;
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import android.support.v7.widget.RecyclerView;
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import android.util.Log;
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@ -30,10 +31,10 @@ import org.schabi.newpipe.info_list.InfoListAdapter;
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import org.schabi.newpipe.report.ErrorActivity;
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import org.schabi.newpipe.settings.SettingsActivity;
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import org.schabi.newpipe.util.NavStack;
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import java.io.IOException;
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import static android.os.Build.VERSION.SDK_INT;
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import org.schabi.newpipe.util.ThemeHelper;
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/**
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* Copyright (C) Christian Schabesberger 2016 <chris.schabesberger@mailbox.org>
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@ -53,7 +54,7 @@ import static android.os.Build.VERSION.SDK_INT;
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* along with NewPipe. If not, see <http://www.gnu.org/licenses/>.
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*/
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public class ChannelActivity extends ThemableActivity {
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public class ChannelActivity extends AppCompatActivity {
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private static final String TAG = ChannelActivity.class.toString();
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private View rootView = null;
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@ -81,7 +82,7 @@ public class ChannelActivity extends ThemableActivity {
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@Override
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protected void onCreate(Bundle savedInstanceState) {
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super.onCreate(savedInstanceState);
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ThemeHelper.setTheme(this, true);
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setContentView(R.layout.activity_channel);
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rootView = findViewById(android.R.id.content);
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@ -2,19 +2,17 @@ package org.schabi.newpipe;
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import android.content.Intent;
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import android.media.AudioManager;
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import android.os.Bundle;
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import android.support.v4.app.Fragment;
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import android.support.v4.app.NavUtils;
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import android.os.Bundle;
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import android.util.Log;
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import android.support.v7.app.AppCompatActivity;
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import android.view.Menu;
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import android.view.MenuInflater;
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import android.view.MenuItem;
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import android.view.View;
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import android.widget.AdapterView;
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import org.schabi.newpipe.download.DownloadActivity;
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import org.schabi.newpipe.settings.SettingsActivity;
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import org.schabi.newpipe.util.PermissionHelper;
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import org.schabi.newpipe.util.ThemeHelper;
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/**
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* Created by Christian Schabesberger on 02.08.16.
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@ -36,13 +34,15 @@ import org.schabi.newpipe.util.PermissionHelper;
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* along with NewPipe. If not, see <http://www.gnu.org/licenses/>.
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*/
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public class MainActivity extends ThemableActivity {
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public class MainActivity extends AppCompatActivity {
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private Fragment mainFragment = null;
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private static final String TAG = MainActivity.class.toString();
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@Override
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protected void onCreate(Bundle savedInstanceState) {
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super.onCreate(savedInstanceState);
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ThemeHelper.setTheme(this, true);
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setContentView(R.layout.activity_main);
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setVolumeControlStream(AudioManager.STREAM_MUSIC);
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mainFragment = getSupportFragmentManager()
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@ -53,7 +53,6 @@ public class MainActivity extends ThemableActivity {
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public boolean onCreateOptionsMenu(Menu menu) {
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super.onCreateOptionsMenu(menu);
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MenuInflater inflater = getMenuInflater();
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inflater.inflate(R.menu.main_menu, menu);
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return true;
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}
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@ -6,24 +6,22 @@ import android.media.AudioManager;
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import android.os.Bundle;
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import android.preference.PreferenceManager;
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import android.support.v4.app.NavUtils;
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import android.support.v7.app.AppCompatActivity;
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import android.util.Log;
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import android.view.Menu;
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import android.view.MenuItem;
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import android.widget.Toast;
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import org.schabi.newpipe.App;
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import org.schabi.newpipe.MainActivity;
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import org.schabi.newpipe.R;
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import org.schabi.newpipe.ThemableActivity;
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import org.schabi.newpipe.extractor.NewPipe;
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import org.schabi.newpipe.extractor.StreamingService;
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import org.schabi.newpipe.report.ErrorActivity;
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import org.schabi.newpipe.util.NavStack;
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import org.schabi.newpipe.util.ThemeHelper;
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import java.util.Collection;
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import java.util.HashSet;
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import static android.os.Build.VERSION.SDK_INT;
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/**
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@ -44,7 +42,7 @@ import static android.os.Build.VERSION.SDK_INT;
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* along with NewPipe. If not, see <http://www.gnu.org/licenses/>.
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*/
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public class VideoItemDetailActivity extends ThemableActivity {
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public class VideoItemDetailActivity extends AppCompatActivity {
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/**
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* Removes invisible separators (\p{Z}) and punctuation characters including
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@ -60,8 +58,36 @@ public class VideoItemDetailActivity extends ThemableActivity {
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private String videoUrl;
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private int currentStreamingService = -1;
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private static String removeHeadingGibberish(final String input) {
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int start = 0;
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for (int i = input.indexOf("://") - 1; i >= 0; i--) {
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if (!input.substring(i, i + 1).matches("\\p{L}")) {
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start = i + 1;
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break;
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}
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}
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return input.substring(start, input.length());
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}
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private static String trim(final String input) {
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if (input == null || input.length() < 1) {
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return input;
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} else {
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String output = input;
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while (output.length() > 0 && output.substring(0, 1).matches(REGEX_REMOVE_FROM_URL)) {
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output = output.substring(1);
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}
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while (output.length() > 0
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&& output.substring(output.length() - 1, output.length()).matches(REGEX_REMOVE_FROM_URL)) {
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output = output.substring(0, output.length() - 1);
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}
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return output;
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}
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}
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protected void onCreate(Bundle savedInstanceState) {
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super.onCreate(savedInstanceState);
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ThemeHelper.setTheme(this, true);
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setContentView(R.layout.activity_videoitem_detail);
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setVolumeControlStream(AudioManager.STREAM_MUSIC);
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// Show the Up button in the action bar.
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@ -211,33 +237,6 @@ public class VideoItemDetailActivity extends ThemableActivity {
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return result.toArray(new String[result.size()]);
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}
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private static String removeHeadingGibberish(final String input) {
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int start = 0;
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for (int i = input.indexOf("://") - 1; i >= 0; i--) {
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if (!input.substring(i, i + 1).matches("\\p{L}")) {
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start = i + 1;
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break;
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}
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}
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return input.substring(start, input.length());
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}
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private static String trim(final String input) {
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if (input == null || input.length() < 1) {
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return input;
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} else {
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String output = input;
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while (output.length() > 0 && output.substring(0, 1).matches(REGEX_REMOVE_FROM_URL)) {
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output = output.substring(1);
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}
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while (output.length() > 0
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&& output.substring(output.length() - 1, output.length()).matches(REGEX_REMOVE_FROM_URL)) {
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output = output.substring(0, output.length() - 1);
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}
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return output;
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}
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}
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private int getServiceIdByUrl(String url) {
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StreamingService[] serviceList = NewPipe.getServices();
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int service = -1;
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@ -33,6 +33,7 @@ import android.widget.RelativeLayout;
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import android.widget.TextView;
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import android.widget.Toast;
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import com.google.android.exoplayer.util.Util;
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import com.nostra13.universalimageloader.core.DisplayImageOptions;
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import com.nostra13.universalimageloader.core.ImageLoader;
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@ -62,6 +63,7 @@ import org.schabi.newpipe.util.NavStack;
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import org.schabi.newpipe.util.PermissionHelper;
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import static android.app.Activity.RESULT_OK;
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import static com.nononsenseapps.filepicker.R.styleable.AlertDialog;
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import static org.schabi.newpipe.ReCaptchaActivity.RECAPTCHA_REQUEST;
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@ -3,18 +3,15 @@ package org.schabi.newpipe.download;
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import android.annotation.TargetApi;
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import android.app.AlertDialog;
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import android.app.FragmentTransaction;
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import android.content.ComponentName;
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import android.content.Context;
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import android.content.Intent;
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import android.content.ServiceConnection;
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import android.content.SharedPreferences;
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import android.os.Bundle;
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import android.os.IBinder;
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import android.preference.PreferenceManager;
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import android.support.v4.app.NavUtils;
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import android.support.v7.app.ActionBar;
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import android.support.v7.app.AppCompatActivity;
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import android.support.v7.widget.Toolbar;
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import android.util.Log;
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import android.view.LayoutInflater;
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import android.view.Menu;
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import android.view.MenuInflater;
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@ -28,32 +25,28 @@ import android.widget.SeekBar;
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import android.widget.TextView;
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import android.widget.Toast;
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import org.schabi.newpipe.ThemableActivity;
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import org.schabi.newpipe.report.ErrorActivity;
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import org.schabi.newpipe.R;
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import org.schabi.newpipe.report.ErrorActivity;
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import org.schabi.newpipe.settings.NewPipeSettings;
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import org.schabi.newpipe.settings.SettingsActivity;
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import org.schabi.newpipe.util.ThemeHelper;
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import java.io.File;
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import java.util.Vector;
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import us.shandian.giga.get.DownloadManager;
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import us.shandian.giga.service.DownloadManagerService;
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import us.shandian.giga.ui.fragment.AllMissionsFragment;
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import us.shandian.giga.ui.fragment.MissionsFragment;
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import us.shandian.giga.util.CrashHandler;
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import us.shandian.giga.util.Utility;
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public class DownloadActivity extends ThemableActivity implements AdapterView.OnItemClickListener{
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public class DownloadActivity extends AppCompatActivity implements AdapterView.OnItemClickListener {
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public static final String INTENT_DOWNLOAD = "us.shandian.giga.intent.DOWNLOAD";
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public static final String INTENT_LIST = "us.shandian.giga.intent.LIST";
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private static final String TAG = DownloadActivity.class.toString();
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public static final String THREADS = "threads";
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private static final String TAG = DownloadActivity.class.toString();
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private MissionsFragment mFragment;
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@ -72,9 +65,9 @@ public class DownloadActivity extends ThemableActivity implements AdapterView.On
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startService(i);
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super.onCreate(savedInstanceState);
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ThemeHelper.setTheme(this, true);
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setContentView(R.layout.activity_downloader);
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//noinspection ConstantConditions
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// its ok if this fails, we will catch that error later, and send it as report
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@ -1,5 +1,3 @@
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package org.schabi.newpipe.report;
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import android.app.Activity;
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@ -8,14 +6,14 @@ import android.content.Intent;
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import android.graphics.Color;
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import android.net.Uri;
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import android.os.Build;
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import android.os.Bundle;
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import android.os.Handler;
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import android.os.Parcel;
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import android.os.Parcelable;
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import android.preference.PreferenceManager;
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import android.support.design.widget.Snackbar;
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import android.support.v4.app.NavUtils;
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import android.support.v7.app.ActionBar;
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import android.os.Bundle;
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import android.os.Handler;
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import android.support.v7.app.AppCompatActivity;
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import android.util.Log;
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import android.view.Menu;
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@ -35,8 +33,8 @@ import org.schabi.newpipe.BuildConfig;
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import org.schabi.newpipe.Downloader;
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import org.schabi.newpipe.MainActivity;
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import org.schabi.newpipe.R;
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import org.schabi.newpipe.ThemableActivity;
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import org.schabi.newpipe.extractor.Parser;
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import org.schabi.newpipe.util.ThemeHelper;
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import java.io.PrintWriter;
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import java.io.StringWriter;
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@ -66,65 +64,12 @@ import java.util.Vector;
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* along with NewPipe. If not, see <http://www.gnu.org/licenses/>.
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*/
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public class ErrorActivity extends ThemableActivity {
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public static class ErrorInfo implements Parcelable {
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public int userAction;
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public String request;
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public String serviceName;
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public int message;
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public static ErrorInfo make(int userAction, String serviceName, String request, int message) {
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ErrorInfo info = new ErrorInfo();
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info.userAction = userAction;
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info.serviceName = serviceName;
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info.request = request;
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info.message = message;
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return info;
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}
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@Override
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public int describeContents() {
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return 0;
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}
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@Override
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public void writeToParcel(Parcel dest, int flags) {
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dest.writeInt(this.userAction);
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dest.writeString(this.request);
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dest.writeString(this.serviceName);
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dest.writeInt(this.message);
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}
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public ErrorInfo() {
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}
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protected ErrorInfo(Parcel in) {
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this.userAction = in.readInt();
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this.request = in.readString();
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this.serviceName = in.readString();
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this.message = in.readInt();
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}
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public static final Parcelable.Creator<ErrorInfo> CREATOR = new Parcelable.Creator<ErrorInfo>() {
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@Override
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public ErrorInfo createFromParcel(Parcel source) {
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return new ErrorInfo(source);
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}
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@Override
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public ErrorInfo[] newArray(int size) {
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return new ErrorInfo[size];
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}
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};
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}
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public class ErrorActivity extends AppCompatActivity {
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// LOG TAGS
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public static final String TAG = ErrorActivity.class.toString();
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// BUNDLE TAGS
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public static final String ERROR_INFO = "error_info";
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public static final String ERROR_LIST = "error_list";
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// MESSAGE ID
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public static final int SEARCHED = 0;
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public static final int REQUESTED_STREAM = 1;
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@ -134,7 +79,6 @@ public class ErrorActivity extends ThemableActivity {
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public static final int LOAD_IMAGE = 5;
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public static final int UI_ERROR = 6;
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public static final int REQUESTED_CHANNEL = 7;
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// MESSAGE STRING
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public static final String SEARCHED_STRING = "searched";
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public static final String REQUESTED_STREAM_STRING = "requested stream";
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@ -144,17 +88,14 @@ public class ErrorActivity extends ThemableActivity {
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public static final String LOAD_IMAGE_STRING = "load image";
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public static final String UI_ERROR_STRING = "ui error";
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public static final String REQUESTED_CHANNEL_STRING = "requested channel";
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||||
|
||||
public static final String ERROR_EMAIL_ADDRESS = "crashreport@newpipe.schabi.org";
|
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public static final String ERROR_EMAIL_SUBJECT = "Exception in NewPipe " + BuildConfig.VERSION_NAME;
|
||||
|
||||
Thread globIpRangeThread;
|
||||
private String[] errorList;
|
||||
private ErrorInfo errorInfo;
|
||||
private Class returnActivity;
|
||||
private String currentTimeStamp;
|
||||
private String globIpRange;
|
||||
Thread globIpRangeThread;
|
||||
|
||||
// views
|
||||
private TextView errorView;
|
||||
private EditText userCommentBox;
|
||||
@ -243,9 +184,26 @@ public class ErrorActivity extends ThemableActivity {
|
||||
context.startActivity(intent);
|
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}
|
||||
|
||||
private static String getStackTrace(final Throwable throwable) {
|
||||
final StringWriter sw = new StringWriter();
|
||||
final PrintWriter pw = new PrintWriter(sw, true);
|
||||
throwable.printStackTrace(pw);
|
||||
return sw.getBuffer().toString();
|
||||
}
|
||||
|
||||
// errorList to StringList
|
||||
private static String[] elToSl(List<Throwable> stackTraces) {
|
||||
String[] out = new String[stackTraces.size()];
|
||||
for (int i = 0; i < stackTraces.size(); i++) {
|
||||
out[i] = getStackTrace(stackTraces.get(i));
|
||||
}
|
||||
return out;
|
||||
}
|
||||
|
||||
@Override
|
||||
protected void onCreate(Bundle savedInstanceState) {
|
||||
super.onCreate(savedInstanceState);
|
||||
ThemeHelper.setTheme(this, true);
|
||||
setContentView(R.layout.activity_error);
|
||||
|
||||
Intent intent = getIntent();
|
||||
@ -335,13 +293,6 @@ public class ErrorActivity extends ThemableActivity {
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||||
return false;
|
||||
}
|
||||
|
||||
private static String getStackTrace(final Throwable throwable) {
|
||||
final StringWriter sw = new StringWriter();
|
||||
final PrintWriter pw = new PrintWriter(sw, true);
|
||||
throwable.printStackTrace(pw);
|
||||
return sw.getBuffer().toString();
|
||||
}
|
||||
|
||||
private String formErrorText(String[] el) {
|
||||
String text = "";
|
||||
if(el != null) {
|
||||
@ -478,6 +429,56 @@ public class ErrorActivity extends ThemableActivity {
|
||||
return df.format(new Date());
|
||||
}
|
||||
|
||||
public static class ErrorInfo implements Parcelable {
|
||||
public static final Parcelable.Creator<ErrorInfo> CREATOR = new Parcelable.Creator<ErrorInfo>() {
|
||||
@Override
|
||||
public ErrorInfo createFromParcel(Parcel source) {
|
||||
return new ErrorInfo(source);
|
||||
}
|
||||
|
||||
@Override
|
||||
public ErrorInfo[] newArray(int size) {
|
||||
return new ErrorInfo[size];
|
||||
}
|
||||
};
|
||||
public int userAction;
|
||||
public String request;
|
||||
public String serviceName;
|
||||
public int message;
|
||||
|
||||
public ErrorInfo() {
|
||||
}
|
||||
|
||||
protected ErrorInfo(Parcel in) {
|
||||
this.userAction = in.readInt();
|
||||
this.request = in.readString();
|
||||
this.serviceName = in.readString();
|
||||
this.message = in.readInt();
|
||||
}
|
||||
|
||||
public static ErrorInfo make(int userAction, String serviceName, String request, int message) {
|
||||
ErrorInfo info = new ErrorInfo();
|
||||
info.userAction = userAction;
|
||||
info.serviceName = serviceName;
|
||||
info.request = request;
|
||||
info.message = message;
|
||||
return info;
|
||||
}
|
||||
|
||||
@Override
|
||||
public int describeContents() {
|
||||
return 0;
|
||||
}
|
||||
|
||||
@Override
|
||||
public void writeToParcel(Parcel dest, int flags) {
|
||||
dest.writeInt(this.userAction);
|
||||
dest.writeString(this.request);
|
||||
dest.writeString(this.serviceName);
|
||||
dest.writeInt(this.message);
|
||||
}
|
||||
}
|
||||
|
||||
private class IpRagneRequester implements Runnable {
|
||||
Handler h = new Handler();
|
||||
public void run() {
|
||||
@ -497,8 +498,6 @@ public class ErrorActivity extends ThemableActivity {
|
||||
}
|
||||
}
|
||||
|
||||
|
||||
|
||||
private class IpRageReturnRunnable implements Runnable {
|
||||
String ipRange;
|
||||
public IpRageReturnRunnable(String ipRange) {
|
||||
@ -514,13 +513,4 @@ public class ErrorActivity extends ThemableActivity {
|
||||
}
|
||||
}
|
||||
}
|
||||
|
||||
// errorList to StringList
|
||||
private static String[] elToSl(List<Throwable> stackTraces) {
|
||||
String[] out = new String[stackTraces.size()];
|
||||
for(int i = 0; i < stackTraces.size(); i++) {
|
||||
out[i] = getStackTrace(stackTraces.get(i));
|
||||
}
|
||||
return out;
|
||||
}
|
||||
}
|
||||
|
@ -5,7 +5,6 @@ import android.content.Intent;
|
||||
import android.content.res.Configuration;
|
||||
import android.os.Bundle;
|
||||
import android.preference.PreferenceActivity;
|
||||
import android.preference.PreferenceManager;
|
||||
import android.support.annotation.LayoutRes;
|
||||
import android.support.annotation.NonNull;
|
||||
import android.support.v7.app.ActionBar;
|
||||
@ -16,8 +15,7 @@ import android.view.View;
|
||||
import android.view.ViewGroup;
|
||||
|
||||
import org.schabi.newpipe.R;
|
||||
|
||||
import java.util.Objects;
|
||||
import org.schabi.newpipe.util.ThemeHelper;
|
||||
|
||||
|
||||
/**
|
||||
@ -41,16 +39,16 @@ import java.util.Objects;
|
||||
*/
|
||||
|
||||
public class SettingsActivity extends PreferenceActivity {
|
||||
private AppCompatDelegate mDelegate = null;
|
||||
SettingsFragment f = new SettingsFragment();
|
||||
private AppCompatDelegate mDelegate = null;
|
||||
|
||||
public static void initSettings(Context context) {
|
||||
NewPipeSettings.initSettings(context);
|
||||
}
|
||||
|
||||
@Override
|
||||
protected void onCreate(Bundle savedInstanceBundle) {
|
||||
if (PreferenceManager.getDefaultSharedPreferences(this)
|
||||
.getString("theme", getResources().getString(R.string.light_theme_title)).
|
||||
equals(getResources().getString(R.string.dark_theme_title))) {
|
||||
setTheme(R.style.DarkTheme);
|
||||
}
|
||||
ThemeHelper.setTheme(this, true);
|
||||
getDelegate().installViewFactory();
|
||||
getDelegate().onCreate(savedInstanceBundle);
|
||||
super.onCreate(savedInstanceBundle);
|
||||
@ -156,8 +154,4 @@ public class SettingsActivity extends PreferenceActivity {
|
||||
}
|
||||
return true;
|
||||
}
|
||||
|
||||
public static void initSettings(Context context) {
|
||||
NewPipeSettings.initSettings(context);
|
||||
}
|
||||
}
|
||||
|
@ -48,8 +48,8 @@ import info.guardianproject.netcipher.proxy.OrbotHelper;
|
||||
public class SettingsFragment extends PreferenceFragment
|
||||
implements SharedPreferences.OnSharedPreferenceChangeListener
|
||||
{
|
||||
public static final int REQUEST_INSTALL_ORBOT = 0x1234;
|
||||
SharedPreferences.OnSharedPreferenceChangeListener prefListener;
|
||||
|
||||
// get keys
|
||||
String DEFAULT_RESOLUTION_PREFERENCE;
|
||||
String DEFAULT_AUDIO_FORMAT_PREFERENCE;
|
||||
@ -58,9 +58,6 @@ public class SettingsFragment extends PreferenceFragment
|
||||
String DOWNLOAD_PATH_AUDIO_PREFERENCE;
|
||||
String USE_TOR_KEY;
|
||||
String THEME;
|
||||
|
||||
public static final int REQUEST_INSTALL_ORBOT = 0x1234;
|
||||
|
||||
private ListPreference defaultResolutionPreference;
|
||||
private ListPreference defaultAudioFormatPreference;
|
||||
private ListPreference searchLanguagePreference;
|
||||
|
31
app/src/main/java/org/schabi/newpipe/util/ThemeHelper.java
Normal file
31
app/src/main/java/org/schabi/newpipe/util/ThemeHelper.java
Normal file
@ -0,0 +1,31 @@
|
||||
package org.schabi.newpipe.util;
|
||||
|
||||
import android.content.Context;
|
||||
import android.preference.PreferenceManager;
|
||||
|
||||
import org.schabi.newpipe.R;
|
||||
|
||||
public class ThemeHelper {
|
||||
|
||||
public static void setTheme(Context context, boolean mode) {
|
||||
// mode is true for normal theme, false for no action bar theme.
|
||||
|
||||
String themeKey = context.getString(R.string.theme_key);
|
||||
//String lightTheme = context.getResources().getString(R.string.light_theme_title);
|
||||
String darkTheme = context.getResources().getString(R.string.dark_theme_title);
|
||||
String blackTheme = context.getResources().getString(R.string.black_theme_title);
|
||||
|
||||
String sp = PreferenceManager.getDefaultSharedPreferences(context)
|
||||
.getString(themeKey, context.getResources().getString(R.string.light_theme_title));
|
||||
|
||||
if (mode) {
|
||||
if (sp.equals(darkTheme)) context.setTheme(R.style.DarkTheme);
|
||||
else if (sp.equals(blackTheme)) context.setTheme(R.style.BlackTheme);
|
||||
else context.setTheme(R.style.AppTheme);
|
||||
} else {
|
||||
if (sp.equals(darkTheme)) context.setTheme(R.style.DarkTheme_NoActionBar);
|
||||
else if (sp.equals(blackTheme)) context.setTheme(R.style.BlackTheme_NoActionBar);
|
||||
else context.setTheme(R.style.AppTheme_NoActionBar);
|
||||
}
|
||||
}
|
||||
}
|
12
app/src/main/res/drawable-v21/splash_screen.xml
Normal file
12
app/src/main/res/drawable-v21/splash_screen.xml
Normal file
@ -0,0 +1,12 @@
|
||||
<?xml version="1.0" encoding="utf-8"?>
|
||||
<layer-list xmlns:android="http://schemas.android.com/apk/res/android">
|
||||
|
||||
<item
|
||||
android:drawable="?android:windowBackground"/>
|
||||
|
||||
<item>
|
||||
<bitmap
|
||||
android:gravity="center"
|
||||
android:src="@mipmap/ic_launcher"/>
|
||||
</item>
|
||||
</layer-list>
|
@ -1,9 +1,6 @@
|
||||
<?xml version="1.0" encoding="utf-8"?>
|
||||
<layer-list xmlns:android="http://schemas.android.com/apk/res/android">
|
||||
|
||||
<item
|
||||
android:drawable="?android:attr/windowBackground"/>
|
||||
|
||||
<item>
|
||||
<bitmap
|
||||
android:gravity="center"
|
||||
|
@ -175,16 +175,16 @@
|
||||
|
||||
|
||||
A material metaphor is the unifying theory of a rationalized space and a system of motion.
|
||||
The material is grounded in tactile reality, inspired by the study of paper and ink, yet
|
||||
The material is grounded in tactile reality, inspired by the study of paper and ink, yet
|
||||
technologically advanced and open to imagination and magic.
|
||||
|
||||
Surfaces and edges of the material provide visual cues that are grounded in reality. The
|
||||
use of familiar tactile attributes helps users quickly understand affordances. Yet the
|
||||
flexibility of the material creates new affordances that supercede those in the physical
|
||||
Surfaces and edges of the material provide visual cues that are grounded in reality. The
|
||||
use of familiar tactile attributes helps users quickly understand affordances. Yet the
|
||||
flexibility of the material creates new affordances that supercede those in the physical
|
||||
world, without breaking the rules of physics.
|
||||
|
||||
The fundamentals of light, surface, and movement are key to conveying how objects move,
|
||||
interact, and exist in space and in relation to each other. Realistic lighting shows
|
||||
The fundamentals of light, surface, and movement are key to conveying how objects move,
|
||||
interact, and exist in space and in relation to each other. Realistic lighting shows
|
||||
seams, divides space, and indicates moving parts.
|
||||
|
||||
|
||||
@ -193,13 +193,13 @@
|
||||
|
||||
|
||||
|
||||
The foundational elements of print based design typography, grids, space, scale, color,
|
||||
and use of imagery guide visual treatments. These elements do far more than please the
|
||||
eye. They create hierarchy, meaning, and focus. Deliberate color choices, edge to edge
|
||||
imagery, large scale typography, and intentional white space create a bold and graphic
|
||||
The foundational elements of print based design typography, grids, space, scale, color,
|
||||
and use of imagery guide visual treatments. These elements do far more than please the
|
||||
eye. They create hierarchy, meaning, and focus. Deliberate color choices, edge to edge
|
||||
imagery, large scale typography, and intentional white space create a bold and graphic
|
||||
interface that immerse the user in the experience.
|
||||
|
||||
An emphasis on user actions makes core functionality immediately apparent and provides
|
||||
An emphasis on user actions makes core functionality immediately apparent and provides
|
||||
waypoints for the user.
|
||||
|
||||
|
||||
@ -208,13 +208,13 @@
|
||||
|
||||
|
||||
|
||||
Motion respects and reinforces the user as the prime mover. Primary user actions are
|
||||
Motion respects and reinforces the user as the prime mover. Primary user actions are
|
||||
inflection points that initiate motion, transforming the whole design.
|
||||
|
||||
All action takes place in a single environment. Objects are presented to the user without
|
||||
All action takes place in a single environment. Objects are presented to the user without
|
||||
breaking the continuity of experience even as they transform and reorganize.
|
||||
|
||||
Motion is meaningful and appropriate, serving to focus attention and maintain continuity.
|
||||
Motion is meaningful and appropriate, serving to focus attention and maintain continuity.
|
||||
Feedback is subtle yet clear. Transitions are efficient yet coherent.
|
||||
|
||||
|
||||
@ -223,12 +223,12 @@
|
||||
|
||||
|
||||
|
||||
The material environment is a 3D space, which means all objects have x, y, and z
|
||||
dimensions. The z-axis is perpendicularly aligned to the plane of the display, with the
|
||||
positive z-axis extending towards the viewer. Every sheet of material occupies a single
|
||||
The material environment is a 3D space, which means all objects have x, y, and z
|
||||
dimensions. The z-axis is perpendicularly aligned to the plane of the display, with the
|
||||
positive z-axis extending towards the viewer. Every sheet of material occupies a single
|
||||
position along the z-axis and has a standard 1dp thickness.
|
||||
|
||||
On the web, the z-axis is used for layering and not for perspective. The 3D world is
|
||||
On the web, the z-axis is used for layering and not for perspective. The 3D world is
|
||||
emulated by manipulating the y-axis.
|
||||
|
||||
|
||||
@ -237,12 +237,12 @@
|
||||
|
||||
|
||||
|
||||
Within the material environment, virtual lights illuminate the scene. Key lights create
|
||||
Within the material environment, virtual lights illuminate the scene. Key lights create
|
||||
directional shadows, while ambient light creates soft shadows from all angles.
|
||||
|
||||
Shadows in the material environment are cast by these two light sources. In Android
|
||||
development, shadows occur when light sources are blocked by sheets of material at
|
||||
various positions along the z-axis. On the web, shadows are depicted by manipulating the
|
||||
Shadows in the material environment are cast by these two light sources. In Android
|
||||
development, shadows occur when light sources are blocked by sheets of material at
|
||||
various positions along the z-axis. On the web, shadows are depicted by manipulating the
|
||||
y-axis only. The following example shows the card with a height of 6dp.
|
||||
|
||||
|
||||
@ -251,8 +251,8 @@
|
||||
|
||||
|
||||
|
||||
All material objects, regardless of size, have a resting elevation, or default elevation
|
||||
that does not change. If an object changes elevation, it should return to its resting
|
||||
All material objects, regardless of size, have a resting elevation, or default elevation
|
||||
that does not change. If an object changes elevation, it should return to its resting
|
||||
elevation as soon as possible.
|
||||
|
||||
|
||||
@ -261,10 +261,10 @@
|
||||
|
||||
|
||||
|
||||
The resting elevation for a component type is consistent across apps (e.g., FAB elevation
|
||||
The resting elevation for a component type is consistent across apps (e.g., FAB elevation
|
||||
does not vary from 6dp in one app to 16dp in another app).
|
||||
|
||||
Components may have different resting elevations across platforms, depending on the depth
|
||||
Components may have different resting elevations across platforms, depending on the depth
|
||||
of the environment (e.g., TV has a greater depth than mobile or desktop).
|
||||
|
||||
|
||||
@ -273,16 +273,16 @@
|
||||
|
||||
|
||||
|
||||
Some component types have responsive elevation, meaning they change elevation in response
|
||||
to user input (e.g., normal, focused, and pressed) or system events. These elevation
|
||||
Some component types have responsive elevation, meaning they change elevation in response
|
||||
to user input (e.g., normal, focused, and pressed) or system events. These elevation
|
||||
changes are consistently implemented using dynamic elevation offsets.
|
||||
|
||||
Dynamic elevation offsets are the goal elevation that a component moves towards, relative
|
||||
to the component’s resting state. They ensure that elevation changes are consistent
|
||||
across actions and component types. For example, all components that lift on press have
|
||||
Dynamic elevation offsets are the goal elevation that a component moves towards, relative
|
||||
to the component’s resting state. They ensure that elevation changes are consistent
|
||||
across actions and component types. For example, all components that lift on press have
|
||||
the same elevation change relative to their resting elevation.
|
||||
|
||||
Once the input event is completed or cancelled, the component will return to its resting
|
||||
Once the input event is completed or cancelled, the component will return to its resting
|
||||
elevation.
|
||||
|
||||
|
||||
@ -291,17 +291,17 @@
|
||||
|
||||
|
||||
|
||||
Components with responsive elevations may encounter other components as they move between
|
||||
their resting elevations and dynamic elevation offsets. Because material cannot pass
|
||||
through other material, components avoid interfering with one another any number of ways,
|
||||
Components with responsive elevations may encounter other components as they move between
|
||||
their resting elevations and dynamic elevation offsets. Because material cannot pass
|
||||
through other material, components avoid interfering with one another any number of ways,
|
||||
whether on a per component basis or using the entire app layout.
|
||||
|
||||
On a component level, components can move or be removed before they cause interference.
|
||||
For example, a floating action button (FAB) can disappear or move off screen before a
|
||||
On a component level, components can move or be removed before they cause interference.
|
||||
For example, a floating action button (FAB) can disappear or move off screen before a
|
||||
user picks up a card, or it can move if a snackbar appears.
|
||||
|
||||
On the layout level, design your app layout to minimize opportunities for interference.
|
||||
For example, position the FAB to one side of stream of a cards so the FAB won’t interfere
|
||||
On the layout level, design your app layout to minimize opportunities for interference.
|
||||
For example, position the FAB to one side of stream of a cards so the FAB won’t interfere
|
||||
when a user tries to pick up one of cards.
|
||||
|
||||
|
||||
|
@ -165,16 +165,16 @@
|
||||
|
||||
|
||||
A material metaphor is the unifying theory of a rationalized space and a system of motion.
|
||||
The material is grounded in tactile reality, inspired by the study of paper and ink, yet
|
||||
The material is grounded in tactile reality, inspired by the study of paper and ink, yet
|
||||
technologically advanced and open to imagination and magic.
|
||||
|
||||
Surfaces and edges of the material provide visual cues that are grounded in reality. The
|
||||
use of familiar tactile attributes helps users quickly understand affordances. Yet the
|
||||
flexibility of the material creates new affordances that supercede those in the physical
|
||||
Surfaces and edges of the material provide visual cues that are grounded in reality. The
|
||||
use of familiar tactile attributes helps users quickly understand affordances. Yet the
|
||||
flexibility of the material creates new affordances that supercede those in the physical
|
||||
world, without breaking the rules of physics.
|
||||
|
||||
The fundamentals of light, surface, and movement are key to conveying how objects move,
|
||||
interact, and exist in space and in relation to each other. Realistic lighting shows
|
||||
The fundamentals of light, surface, and movement are key to conveying how objects move,
|
||||
interact, and exist in space and in relation to each other. Realistic lighting shows
|
||||
seams, divides space, and indicates moving parts.
|
||||
|
||||
|
||||
@ -183,13 +183,13 @@
|
||||
|
||||
|
||||
|
||||
The foundational elements of print based design typography, grids, space, scale, color,
|
||||
and use of imagery guide visual treatments. These elements do far more than please the
|
||||
eye. They create hierarchy, meaning, and focus. Deliberate color choices, edge to edge
|
||||
imagery, large scale typography, and intentional white space create a bold and graphic
|
||||
The foundational elements of print based design typography, grids, space, scale, color,
|
||||
and use of imagery guide visual treatments. These elements do far more than please the
|
||||
eye. They create hierarchy, meaning, and focus. Deliberate color choices, edge to edge
|
||||
imagery, large scale typography, and intentional white space create a bold and graphic
|
||||
interface that immerse the user in the experience.
|
||||
|
||||
An emphasis on user actions makes core functionality immediately apparent and provides
|
||||
An emphasis on user actions makes core functionality immediately apparent and provides
|
||||
waypoints for the user.
|
||||
|
||||
|
||||
@ -198,13 +198,13 @@
|
||||
|
||||
|
||||
|
||||
Motion respects and reinforces the user as the prime mover. Primary user actions are
|
||||
Motion respects and reinforces the user as the prime mover. Primary user actions are
|
||||
inflection points that initiate motion, transforming the whole design.
|
||||
|
||||
All action takes place in a single environment. Objects are presented to the user without
|
||||
All action takes place in a single environment. Objects are presented to the user without
|
||||
breaking the continuity of experience even as they transform and reorganize.
|
||||
|
||||
Motion is meaningful and appropriate, serving to focus attention and maintain continuity.
|
||||
Motion is meaningful and appropriate, serving to focus attention and maintain continuity.
|
||||
Feedback is subtle yet clear. Transitions are efficient yet coherent.
|
||||
|
||||
|
||||
@ -213,12 +213,12 @@
|
||||
|
||||
|
||||
|
||||
The material environment is a 3D space, which means all objects have x, y, and z
|
||||
dimensions. The z-axis is perpendicularly aligned to the plane of the display, with the
|
||||
positive z-axis extending towards the viewer. Every sheet of material occupies a single
|
||||
The material environment is a 3D space, which means all objects have x, y, and z
|
||||
dimensions. The z-axis is perpendicularly aligned to the plane of the display, with the
|
||||
positive z-axis extending towards the viewer. Every sheet of material occupies a single
|
||||
position along the z-axis and has a standard 1dp thickness.
|
||||
|
||||
On the web, the z-axis is used for layering and not for perspective. The 3D world is
|
||||
On the web, the z-axis is used for layering and not for perspective. The 3D world is
|
||||
emulated by manipulating the y-axis.
|
||||
|
||||
|
||||
@ -227,12 +227,12 @@
|
||||
|
||||
|
||||
|
||||
Within the material environment, virtual lights illuminate the scene. Key lights create
|
||||
Within the material environment, virtual lights illuminate the scene. Key lights create
|
||||
directional shadows, while ambient light creates soft shadows from all angles.
|
||||
|
||||
Shadows in the material environment are cast by these two light sources. In Android
|
||||
development, shadows occur when light sources are blocked by sheets of material at
|
||||
various positions along the z-axis. On the web, shadows are depicted by manipulating the
|
||||
Shadows in the material environment are cast by these two light sources. In Android
|
||||
development, shadows occur when light sources are blocked by sheets of material at
|
||||
various positions along the z-axis. On the web, shadows are depicted by manipulating the
|
||||
y-axis only. The following example shows the card with a height of 6dp.
|
||||
|
||||
|
||||
@ -241,8 +241,8 @@
|
||||
|
||||
|
||||
|
||||
All material objects, regardless of size, have a resting elevation, or default elevation
|
||||
that does not change. If an object changes elevation, it should return to its resting
|
||||
All material objects, regardless of size, have a resting elevation, or default elevation
|
||||
that does not change. If an object changes elevation, it should return to its resting
|
||||
elevation as soon as possible.
|
||||
|
||||
|
||||
@ -251,10 +251,10 @@
|
||||
|
||||
|
||||
|
||||
The resting elevation for a component type is consistent across apps (e.g., FAB elevation
|
||||
The resting elevation for a component type is consistent across apps (e.g., FAB elevation
|
||||
does not vary from 6dp in one app to 16dp in another app).
|
||||
|
||||
Components may have different resting elevations across platforms, depending on the depth
|
||||
Components may have different resting elevations across platforms, depending on the depth
|
||||
of the environment (e.g., TV has a greater depth than mobile or desktop).
|
||||
|
||||
|
||||
@ -263,16 +263,16 @@
|
||||
|
||||
|
||||
|
||||
Some component types have responsive elevation, meaning they change elevation in response
|
||||
to user input (e.g., normal, focused, and pressed) or system events. These elevation
|
||||
Some component types have responsive elevation, meaning they change elevation in response
|
||||
to user input (e.g., normal, focused, and pressed) or system events. These elevation
|
||||
changes are consistently implemented using dynamic elevation offsets.
|
||||
|
||||
Dynamic elevation offsets are the goal elevation that a component moves towards, relative
|
||||
to the component’s resting state. They ensure that elevation changes are consistent
|
||||
across actions and component types. For example, all components that lift on press have
|
||||
Dynamic elevation offsets are the goal elevation that a component moves towards, relative
|
||||
to the component’s resting state. They ensure that elevation changes are consistent
|
||||
across actions and component types. For example, all components that lift on press have
|
||||
the same elevation change relative to their resting elevation.
|
||||
|
||||
Once the input event is completed or cancelled, the component will return to its resting
|
||||
Once the input event is completed or cancelled, the component will return to its resting
|
||||
elevation.
|
||||
|
||||
|
||||
@ -281,17 +281,17 @@
|
||||
|
||||
|
||||
|
||||
Components with responsive elevations may encounter other components as they move between
|
||||
their resting elevations and dynamic elevation offsets. Because material cannot pass
|
||||
through other material, components avoid interfering with one another any number of ways,
|
||||
Components with responsive elevations may encounter other components as they move between
|
||||
their resting elevations and dynamic elevation offsets. Because material cannot pass
|
||||
through other material, components avoid interfering with one another any number of ways,
|
||||
whether on a per component basis or using the entire app layout.
|
||||
|
||||
On a component level, components can move or be removed before they cause interference.
|
||||
For example, a floating action button (FAB) can disappear or move off screen before a
|
||||
On a component level, components can move or be removed before they cause interference.
|
||||
For example, a floating action button (FAB) can disappear or move off screen before a
|
||||
user picks up a card, or it can move if a snackbar appears.
|
||||
|
||||
On the layout level, design your app layout to minimize opportunities for interference.
|
||||
For example, position the FAB to one side of stream of a cards so the FAB won’t interfere
|
||||
On the layout level, design your app layout to minimize opportunities for interference.
|
||||
For example, position the FAB to one side of stream of a cards so the FAB won’t interfere
|
||||
when a user tries to pick up one of cards.
|
||||
|
||||
|
||||
|
@ -157,16 +157,16 @@
|
||||
|
||||
|
||||
A material metaphor is the unifying theory of a rationalized space and a system of motion.
|
||||
The material is grounded in tactile reality, inspired by the study of paper and ink, yet
|
||||
The material is grounded in tactile reality, inspired by the study of paper and ink, yet
|
||||
technologically advanced and open to imagination and magic.
|
||||
|
||||
Surfaces and edges of the material provide visual cues that are grounded in reality. The
|
||||
use of familiar tactile attributes helps users quickly understand affordances. Yet the
|
||||
flexibility of the material creates new affordances that supercede those in the physical
|
||||
Surfaces and edges of the material provide visual cues that are grounded in reality. The
|
||||
use of familiar tactile attributes helps users quickly understand affordances. Yet the
|
||||
flexibility of the material creates new affordances that supercede those in the physical
|
||||
world, without breaking the rules of physics.
|
||||
|
||||
The fundamentals of light, surface, and movement are key to conveying how objects move,
|
||||
interact, and exist in space and in relation to each other. Realistic lighting shows
|
||||
The fundamentals of light, surface, and movement are key to conveying how objects move,
|
||||
interact, and exist in space and in relation to each other. Realistic lighting shows
|
||||
seams, divides space, and indicates moving parts.
|
||||
|
||||
|
||||
@ -175,13 +175,13 @@
|
||||
|
||||
|
||||
|
||||
The foundational elements of print based design typography, grids, space, scale, color,
|
||||
and use of imagery guide visual treatments. These elements do far more than please the
|
||||
eye. They create hierarchy, meaning, and focus. Deliberate color choices, edge to edge
|
||||
imagery, large scale typography, and intentional white space create a bold and graphic
|
||||
The foundational elements of print based design typography, grids, space, scale, color,
|
||||
and use of imagery guide visual treatments. These elements do far more than please the
|
||||
eye. They create hierarchy, meaning, and focus. Deliberate color choices, edge to edge
|
||||
imagery, large scale typography, and intentional white space create a bold and graphic
|
||||
interface that immerse the user in the experience.
|
||||
|
||||
An emphasis on user actions makes core functionality immediately apparent and provides
|
||||
An emphasis on user actions makes core functionality immediately apparent and provides
|
||||
waypoints for the user.
|
||||
|
||||
|
||||
@ -190,13 +190,13 @@
|
||||
|
||||
|
||||
|
||||
Motion respects and reinforces the user as the prime mover. Primary user actions are
|
||||
Motion respects and reinforces the user as the prime mover. Primary user actions are
|
||||
inflection points that initiate motion, transforming the whole design.
|
||||
|
||||
All action takes place in a single environment. Objects are presented to the user without
|
||||
All action takes place in a single environment. Objects are presented to the user without
|
||||
breaking the continuity of experience even as they transform and reorganize.
|
||||
|
||||
Motion is meaningful and appropriate, serving to focus attention and maintain continuity.
|
||||
Motion is meaningful and appropriate, serving to focus attention and maintain continuity.
|
||||
Feedback is subtle yet clear. Transitions are efficient yet coherent.
|
||||
|
||||
|
||||
@ -205,12 +205,12 @@
|
||||
|
||||
|
||||
|
||||
The material environment is a 3D space, which means all objects have x, y, and z
|
||||
dimensions. The z-axis is perpendicularly aligned to the plane of the display, with the
|
||||
positive z-axis extending towards the viewer. Every sheet of material occupies a single
|
||||
The material environment is a 3D space, which means all objects have x, y, and z
|
||||
dimensions. The z-axis is perpendicularly aligned to the plane of the display, with the
|
||||
positive z-axis extending towards the viewer. Every sheet of material occupies a single
|
||||
position along the z-axis and has a standard 1dp thickness.
|
||||
|
||||
On the web, the z-axis is used for layering and not for perspective. The 3D world is
|
||||
On the web, the z-axis is used for layering and not for perspective. The 3D world is
|
||||
emulated by manipulating the y-axis.
|
||||
|
||||
|
||||
@ -219,12 +219,12 @@
|
||||
|
||||
|
||||
|
||||
Within the material environment, virtual lights illuminate the scene. Key lights create
|
||||
Within the material environment, virtual lights illuminate the scene. Key lights create
|
||||
directional shadows, while ambient light creates soft shadows from all angles.
|
||||
|
||||
Shadows in the material environment are cast by these two light sources. In Android
|
||||
development, shadows occur when light sources are blocked by sheets of material at
|
||||
various positions along the z-axis. On the web, shadows are depicted by manipulating the
|
||||
Shadows in the material environment are cast by these two light sources. In Android
|
||||
development, shadows occur when light sources are blocked by sheets of material at
|
||||
various positions along the z-axis. On the web, shadows are depicted by manipulating the
|
||||
y-axis only. The following example shows the card with a height of 6dp.
|
||||
|
||||
|
||||
@ -233,8 +233,8 @@
|
||||
|
||||
|
||||
|
||||
All material objects, regardless of size, have a resting elevation, or default elevation
|
||||
that does not change. If an object changes elevation, it should return to its resting
|
||||
All material objects, regardless of size, have a resting elevation, or default elevation
|
||||
that does not change. If an object changes elevation, it should return to its resting
|
||||
elevation as soon as possible.
|
||||
|
||||
|
||||
@ -243,10 +243,10 @@
|
||||
|
||||
|
||||
|
||||
The resting elevation for a component type is consistent across apps (e.g., FAB elevation
|
||||
The resting elevation for a component type is consistent across apps (e.g., FAB elevation
|
||||
does not vary from 6dp in one app to 16dp in another app).
|
||||
|
||||
Components may have different resting elevations across platforms, depending on the depth
|
||||
Components may have different resting elevations across platforms, depending on the depth
|
||||
of the environment (e.g., TV has a greater depth than mobile or desktop).
|
||||
|
||||
|
||||
@ -255,16 +255,16 @@
|
||||
|
||||
|
||||
|
||||
Some component types have responsive elevation, meaning they change elevation in response
|
||||
to user input (e.g., normal, focused, and pressed) or system events. These elevation
|
||||
Some component types have responsive elevation, meaning they change elevation in response
|
||||
to user input (e.g., normal, focused, and pressed) or system events. These elevation
|
||||
changes are consistently implemented using dynamic elevation offsets.
|
||||
|
||||
Dynamic elevation offsets are the goal elevation that a component moves towards, relative
|
||||
to the component’s resting state. They ensure that elevation changes are consistent
|
||||
across actions and component types. For example, all components that lift on press have
|
||||
Dynamic elevation offsets are the goal elevation that a component moves towards, relative
|
||||
to the component’s resting state. They ensure that elevation changes are consistent
|
||||
across actions and component types. For example, all components that lift on press have
|
||||
the same elevation change relative to their resting elevation.
|
||||
|
||||
Once the input event is completed or cancelled, the component will return to its resting
|
||||
Once the input event is completed or cancelled, the component will return to its resting
|
||||
elevation.
|
||||
|
||||
|
||||
@ -273,17 +273,17 @@
|
||||
|
||||
|
||||
|
||||
Components with responsive elevations may encounter other components as they move between
|
||||
their resting elevations and dynamic elevation offsets. Because material cannot pass
|
||||
through other material, components avoid interfering with one another any number of ways,
|
||||
Components with responsive elevations may encounter other components as they move between
|
||||
their resting elevations and dynamic elevation offsets. Because material cannot pass
|
||||
through other material, components avoid interfering with one another any number of ways,
|
||||
whether on a per component basis or using the entire app layout.
|
||||
|
||||
On a component level, components can move or be removed before they cause interference.
|
||||
For example, a floating action button (FAB) can disappear or move off screen before a
|
||||
On a component level, components can move or be removed before they cause interference.
|
||||
For example, a floating action button (FAB) can disappear or move off screen before a
|
||||
user picks up a card, or it can move if a snackbar appears.
|
||||
|
||||
On the layout level, design your app layout to minimize opportunities for interference.
|
||||
For example, position the FAB to one side of stream of a cards so the FAB won’t interfere
|
||||
On the layout level, design your app layout to minimize opportunities for interference.
|
||||
For example, position the FAB to one side of stream of a cards so the FAB won’t interfere
|
||||
when a user tries to pick up one of cards.
|
||||
|
||||
|
||||
|
@ -170,16 +170,16 @@
|
||||
|
||||
|
||||
A material metaphor is the unifying theory of a rationalized space and a system of motion.
|
||||
The material is grounded in tactile reality, inspired by the study of paper and ink, yet
|
||||
The material is grounded in tactile reality, inspired by the study of paper and ink, yet
|
||||
technologically advanced and open to imagination and magic.
|
||||
|
||||
Surfaces and edges of the material provide visual cues that are grounded in reality. The
|
||||
use of familiar tactile attributes helps users quickly understand affordances. Yet the
|
||||
flexibility of the material creates new affordances that supercede those in the physical
|
||||
Surfaces and edges of the material provide visual cues that are grounded in reality. The
|
||||
use of familiar tactile attributes helps users quickly understand affordances. Yet the
|
||||
flexibility of the material creates new affordances that supercede those in the physical
|
||||
world, without breaking the rules of physics.
|
||||
|
||||
The fundamentals of light, surface, and movement are key to conveying how objects move,
|
||||
interact, and exist in space and in relation to each other. Realistic lighting shows
|
||||
The fundamentals of light, surface, and movement are key to conveying how objects move,
|
||||
interact, and exist in space and in relation to each other. Realistic lighting shows
|
||||
seams, divides space, and indicates moving parts.
|
||||
|
||||
|
||||
@ -188,13 +188,13 @@
|
||||
|
||||
|
||||
|
||||
The foundational elements of print based design typography, grids, space, scale, color,
|
||||
and use of imagery guide visual treatments. These elements do far more than please the
|
||||
eye. They create hierarchy, meaning, and focus. Deliberate color choices, edge to edge
|
||||
imagery, large scale typography, and intentional white space create a bold and graphic
|
||||
The foundational elements of print based design typography, grids, space, scale, color,
|
||||
and use of imagery guide visual treatments. These elements do far more than please the
|
||||
eye. They create hierarchy, meaning, and focus. Deliberate color choices, edge to edge
|
||||
imagery, large scale typography, and intentional white space create a bold and graphic
|
||||
interface that immerse the user in the experience.
|
||||
|
||||
An emphasis on user actions makes core functionality immediately apparent and provides
|
||||
An emphasis on user actions makes core functionality immediately apparent and provides
|
||||
waypoints for the user.
|
||||
|
||||
|
||||
@ -203,13 +203,13 @@
|
||||
|
||||
|
||||
|
||||
Motion respects and reinforces the user as the prime mover. Primary user actions are
|
||||
Motion respects and reinforces the user as the prime mover. Primary user actions are
|
||||
inflection points that initiate motion, transforming the whole design.
|
||||
|
||||
All action takes place in a single environment. Objects are presented to the user without
|
||||
All action takes place in a single environment. Objects are presented to the user without
|
||||
breaking the continuity of experience even as they transform and reorganize.
|
||||
|
||||
Motion is meaningful and appropriate, serving to focus attention and maintain continuity.
|
||||
Motion is meaningful and appropriate, serving to focus attention and maintain continuity.
|
||||
Feedback is subtle yet clear. Transitions are efficient yet coherent.
|
||||
|
||||
|
||||
@ -218,12 +218,12 @@
|
||||
|
||||
|
||||
|
||||
The material environment is a 3D space, which means all objects have x, y, and z
|
||||
dimensions. The z-axis is perpendicularly aligned to the plane of the display, with the
|
||||
positive z-axis extending towards the viewer. Every sheet of material occupies a single
|
||||
The material environment is a 3D space, which means all objects have x, y, and z
|
||||
dimensions. The z-axis is perpendicularly aligned to the plane of the display, with the
|
||||
positive z-axis extending towards the viewer. Every sheet of material occupies a single
|
||||
position along the z-axis and has a standard 1dp thickness.
|
||||
|
||||
On the web, the z-axis is used for layering and not for perspective. The 3D world is
|
||||
On the web, the z-axis is used for layering and not for perspective. The 3D world is
|
||||
emulated by manipulating the y-axis.
|
||||
|
||||
|
||||
@ -232,12 +232,12 @@
|
||||
|
||||
|
||||
|
||||
Within the material environment, virtual lights illuminate the scene. Key lights create
|
||||
Within the material environment, virtual lights illuminate the scene. Key lights create
|
||||
directional shadows, while ambient light creates soft shadows from all angles.
|
||||
|
||||
Shadows in the material environment are cast by these two light sources. In Android
|
||||
development, shadows occur when light sources are blocked by sheets of material at
|
||||
various positions along the z-axis. On the web, shadows are depicted by manipulating the
|
||||
Shadows in the material environment are cast by these two light sources. In Android
|
||||
development, shadows occur when light sources are blocked by sheets of material at
|
||||
various positions along the z-axis. On the web, shadows are depicted by manipulating the
|
||||
y-axis only. The following example shows the card with a height of 6dp.
|
||||
|
||||
|
||||
@ -246,8 +246,8 @@
|
||||
|
||||
|
||||
|
||||
All material objects, regardless of size, have a resting elevation, or default elevation
|
||||
that does not change. If an object changes elevation, it should return to its resting
|
||||
All material objects, regardless of size, have a resting elevation, or default elevation
|
||||
that does not change. If an object changes elevation, it should return to its resting
|
||||
elevation as soon as possible.
|
||||
|
||||
|
||||
@ -256,10 +256,10 @@
|
||||
|
||||
|
||||
|
||||
The resting elevation for a component type is consistent across apps (e.g., FAB elevation
|
||||
The resting elevation for a component type is consistent across apps (e.g., FAB elevation
|
||||
does not vary from 6dp in one app to 16dp in another app).
|
||||
|
||||
Components may have different resting elevations across platforms, depending on the depth
|
||||
Components may have different resting elevations across platforms, depending on the depth
|
||||
of the environment (e.g., TV has a greater depth than mobile or desktop).
|
||||
|
||||
|
||||
@ -268,16 +268,16 @@
|
||||
|
||||
|
||||
|
||||
Some component types have responsive elevation, meaning they change elevation in response
|
||||
to user input (e.g., normal, focused, and pressed) or system events. These elevation
|
||||
Some component types have responsive elevation, meaning they change elevation in response
|
||||
to user input (e.g., normal, focused, and pressed) or system events. These elevation
|
||||
changes are consistently implemented using dynamic elevation offsets.
|
||||
|
||||
Dynamic elevation offsets are the goal elevation that a component moves towards, relative
|
||||
to the component’s resting state. They ensure that elevation changes are consistent
|
||||
across actions and component types. For example, all components that lift on press have
|
||||
Dynamic elevation offsets are the goal elevation that a component moves towards, relative
|
||||
to the component’s resting state. They ensure that elevation changes are consistent
|
||||
across actions and component types. For example, all components that lift on press have
|
||||
the same elevation change relative to their resting elevation.
|
||||
|
||||
Once the input event is completed or cancelled, the component will return to its resting
|
||||
Once the input event is completed or cancelled, the component will return to its resting
|
||||
elevation.
|
||||
|
||||
|
||||
@ -286,17 +286,17 @@
|
||||
|
||||
|
||||
|
||||
Components with responsive elevations may encounter other components as they move between
|
||||
their resting elevations and dynamic elevation offsets. Because material cannot pass
|
||||
through other material, components avoid interfering with one another any number of ways,
|
||||
Components with responsive elevations may encounter other components as they move between
|
||||
their resting elevations and dynamic elevation offsets. Because material cannot pass
|
||||
through other material, components avoid interfering with one another any number of ways,
|
||||
whether on a per component basis or using the entire app layout.
|
||||
|
||||
On a component level, components can move or be removed before they cause interference.
|
||||
For example, a floating action button (FAB) can disappear or move off screen before a
|
||||
On a component level, components can move or be removed before they cause interference.
|
||||
For example, a floating action button (FAB) can disappear or move off screen before a
|
||||
user picks up a card, or it can move if a snackbar appears.
|
||||
|
||||
On the layout level, design your app layout to minimize opportunities for interference.
|
||||
For example, position the FAB to one side of stream of a cards so the FAB won’t interfere
|
||||
On the layout level, design your app layout to minimize opportunities for interference.
|
||||
For example, position the FAB to one side of stream of a cards so the FAB won’t interfere
|
||||
when a user tries to pick up one of cards.
|
||||
|
||||
|
||||
|
@ -168,16 +168,16 @@
|
||||
|
||||
|
||||
A material metaphor is the unifying theory of a rationalized space and a system of motion.
|
||||
The material is grounded in tactile reality, inspired by the study of paper and ink, yet
|
||||
The material is grounded in tactile reality, inspired by the study of paper and ink, yet
|
||||
technologically advanced and open to imagination and magic.
|
||||
|
||||
Surfaces and edges of the material provide visual cues that are grounded in reality. The
|
||||
use of familiar tactile attributes helps users quickly understand affordances. Yet the
|
||||
flexibility of the material creates new affordances that supercede those in the physical
|
||||
Surfaces and edges of the material provide visual cues that are grounded in reality. The
|
||||
use of familiar tactile attributes helps users quickly understand affordances. Yet the
|
||||
flexibility of the material creates new affordances that supercede those in the physical
|
||||
world, without breaking the rules of physics.
|
||||
|
||||
The fundamentals of light, surface, and movement are key to conveying how objects move,
|
||||
interact, and exist in space and in relation to each other. Realistic lighting shows
|
||||
The fundamentals of light, surface, and movement are key to conveying how objects move,
|
||||
interact, and exist in space and in relation to each other. Realistic lighting shows
|
||||
seams, divides space, and indicates moving parts.
|
||||
|
||||
|
||||
@ -186,13 +186,13 @@
|
||||
|
||||
|
||||
|
||||
The foundational elements of print based design typography, grids, space, scale, color,
|
||||
and use of imagery guide visual treatments. These elements do far more than please the
|
||||
eye. They create hierarchy, meaning, and focus. Deliberate color choices, edge to edge
|
||||
imagery, large scale typography, and intentional white space create a bold and graphic
|
||||
The foundational elements of print based design typography, grids, space, scale, color,
|
||||
and use of imagery guide visual treatments. These elements do far more than please the
|
||||
eye. They create hierarchy, meaning, and focus. Deliberate color choices, edge to edge
|
||||
imagery, large scale typography, and intentional white space create a bold and graphic
|
||||
interface that immerse the user in the experience.
|
||||
|
||||
An emphasis on user actions makes core functionality immediately apparent and provides
|
||||
An emphasis on user actions makes core functionality immediately apparent and provides
|
||||
waypoints for the user.
|
||||
|
||||
|
||||
@ -201,13 +201,13 @@
|
||||
|
||||
|
||||
|
||||
Motion respects and reinforces the user as the prime mover. Primary user actions are
|
||||
Motion respects and reinforces the user as the prime mover. Primary user actions are
|
||||
inflection points that initiate motion, transforming the whole design.
|
||||
|
||||
All action takes place in a single environment. Objects are presented to the user without
|
||||
All action takes place in a single environment. Objects are presented to the user without
|
||||
breaking the continuity of experience even as they transform and reorganize.
|
||||
|
||||
Motion is meaningful and appropriate, serving to focus attention and maintain continuity.
|
||||
Motion is meaningful and appropriate, serving to focus attention and maintain continuity.
|
||||
Feedback is subtle yet clear. Transitions are efficient yet coherent.
|
||||
|
||||
|
||||
@ -216,12 +216,12 @@
|
||||
|
||||
|
||||
|
||||
The material environment is a 3D space, which means all objects have x, y, and z
|
||||
dimensions. The z-axis is perpendicularly aligned to the plane of the display, with the
|
||||
positive z-axis extending towards the viewer. Every sheet of material occupies a single
|
||||
The material environment is a 3D space, which means all objects have x, y, and z
|
||||
dimensions. The z-axis is perpendicularly aligned to the plane of the display, with the
|
||||
positive z-axis extending towards the viewer. Every sheet of material occupies a single
|
||||
position along the z-axis and has a standard 1dp thickness.
|
||||
|
||||
On the web, the z-axis is used for layering and not for perspective. The 3D world is
|
||||
On the web, the z-axis is used for layering and not for perspective. The 3D world is
|
||||
emulated by manipulating the y-axis.
|
||||
|
||||
|
||||
@ -230,12 +230,12 @@
|
||||
|
||||
|
||||
|
||||
Within the material environment, virtual lights illuminate the scene. Key lights create
|
||||
Within the material environment, virtual lights illuminate the scene. Key lights create
|
||||
directional shadows, while ambient light creates soft shadows from all angles.
|
||||
|
||||
Shadows in the material environment are cast by these two light sources. In Android
|
||||
development, shadows occur when light sources are blocked by sheets of material at
|
||||
various positions along the z-axis. On the web, shadows are depicted by manipulating the
|
||||
Shadows in the material environment are cast by these two light sources. In Android
|
||||
development, shadows occur when light sources are blocked by sheets of material at
|
||||
various positions along the z-axis. On the web, shadows are depicted by manipulating the
|
||||
y-axis only. The following example shows the card with a height of 6dp.
|
||||
|
||||
|
||||
@ -244,8 +244,8 @@
|
||||
|
||||
|
||||
|
||||
All material objects, regardless of size, have a resting elevation, or default elevation
|
||||
that does not change. If an object changes elevation, it should return to its resting
|
||||
All material objects, regardless of size, have a resting elevation, or default elevation
|
||||
that does not change. If an object changes elevation, it should return to its resting
|
||||
elevation as soon as possible.
|
||||
|
||||
|
||||
@ -254,10 +254,10 @@
|
||||
|
||||
|
||||
|
||||
The resting elevation for a component type is consistent across apps (e.g., FAB elevation
|
||||
The resting elevation for a component type is consistent across apps (e.g., FAB elevation
|
||||
does not vary from 6dp in one app to 16dp in another app).
|
||||
|
||||
Components may have different resting elevations across platforms, depending on the depth
|
||||
Components may have different resting elevations across platforms, depending on the depth
|
||||
of the environment (e.g., TV has a greater depth than mobile or desktop).
|
||||
|
||||
|
||||
@ -266,16 +266,16 @@
|
||||
|
||||
|
||||
|
||||
Some component types have responsive elevation, meaning they change elevation in response
|
||||
to user input (e.g., normal, focused, and pressed) or system events. These elevation
|
||||
Some component types have responsive elevation, meaning they change elevation in response
|
||||
to user input (e.g., normal, focused, and pressed) or system events. These elevation
|
||||
changes are consistently implemented using dynamic elevation offsets.
|
||||
|
||||
Dynamic elevation offsets are the goal elevation that a component moves towards, relative
|
||||
to the component’s resting state. They ensure that elevation changes are consistent
|
||||
across actions and component types. For example, all components that lift on press have
|
||||
Dynamic elevation offsets are the goal elevation that a component moves towards, relative
|
||||
to the component’s resting state. They ensure that elevation changes are consistent
|
||||
across actions and component types. For example, all components that lift on press have
|
||||
the same elevation change relative to their resting elevation.
|
||||
|
||||
Once the input event is completed or cancelled, the component will return to its resting
|
||||
Once the input event is completed or cancelled, the component will return to its resting
|
||||
elevation.
|
||||
|
||||
|
||||
@ -284,17 +284,17 @@
|
||||
|
||||
|
||||
|
||||
Components with responsive elevations may encounter other components as they move between
|
||||
their resting elevations and dynamic elevation offsets. Because material cannot pass
|
||||
through other material, components avoid interfering with one another any number of ways,
|
||||
Components with responsive elevations may encounter other components as they move between
|
||||
their resting elevations and dynamic elevation offsets. Because material cannot pass
|
||||
through other material, components avoid interfering with one another any number of ways,
|
||||
whether on a per component basis or using the entire app layout.
|
||||
|
||||
On a component level, components can move or be removed before they cause interference.
|
||||
For example, a floating action button (FAB) can disappear or move off screen before a
|
||||
On a component level, components can move or be removed before they cause interference.
|
||||
For example, a floating action button (FAB) can disappear or move off screen before a
|
||||
user picks up a card, or it can move if a snackbar appears.
|
||||
|
||||
On the layout level, design your app layout to minimize opportunities for interference.
|
||||
For example, position the FAB to one side of stream of a cards so the FAB won’t interfere
|
||||
On the layout level, design your app layout to minimize opportunities for interference.
|
||||
For example, position the FAB to one side of stream of a cards so the FAB won’t interfere
|
||||
when a user tries to pick up one of cards.
|
||||
|
||||
|
||||
|
@ -163,16 +163,16 @@
|
||||
|
||||
|
||||
A material metaphor is the unifying theory of a rationalized space and a system of motion.
|
||||
The material is grounded in tactile reality, inspired by the study of paper and ink, yet
|
||||
The material is grounded in tactile reality, inspired by the study of paper and ink, yet
|
||||
technologically advanced and open to imagination and magic.
|
||||
|
||||
Surfaces and edges of the material provide visual cues that are grounded in reality. The
|
||||
use of familiar tactile attributes helps users quickly understand affordances. Yet the
|
||||
flexibility of the material creates new affordances that supercede those in the physical
|
||||
Surfaces and edges of the material provide visual cues that are grounded in reality. The
|
||||
use of familiar tactile attributes helps users quickly understand affordances. Yet the
|
||||
flexibility of the material creates new affordances that supercede those in the physical
|
||||
world, without breaking the rules of physics.
|
||||
|
||||
The fundamentals of light, surface, and movement are key to conveying how objects move,
|
||||
interact, and exist in space and in relation to each other. Realistic lighting shows
|
||||
The fundamentals of light, surface, and movement are key to conveying how objects move,
|
||||
interact, and exist in space and in relation to each other. Realistic lighting shows
|
||||
seams, divides space, and indicates moving parts.
|
||||
|
||||
|
||||
@ -181,13 +181,13 @@
|
||||
|
||||
|
||||
|
||||
The foundational elements of print based design typography, grids, space, scale, color,
|
||||
and use of imagery guide visual treatments. These elements do far more than please the
|
||||
eye. They create hierarchy, meaning, and focus. Deliberate color choices, edge to edge
|
||||
imagery, large scale typography, and intentional white space create a bold and graphic
|
||||
The foundational elements of print based design typography, grids, space, scale, color,
|
||||
and use of imagery guide visual treatments. These elements do far more than please the
|
||||
eye. They create hierarchy, meaning, and focus. Deliberate color choices, edge to edge
|
||||
imagery, large scale typography, and intentional white space create a bold and graphic
|
||||
interface that immerse the user in the experience.
|
||||
|
||||
An emphasis on user actions makes core functionality immediately apparent and provides
|
||||
An emphasis on user actions makes core functionality immediately apparent and provides
|
||||
waypoints for the user.
|
||||
|
||||
|
||||
@ -196,13 +196,13 @@
|
||||
|
||||
|
||||
|
||||
Motion respects and reinforces the user as the prime mover. Primary user actions are
|
||||
Motion respects and reinforces the user as the prime mover. Primary user actions are
|
||||
inflection points that initiate motion, transforming the whole design.
|
||||
|
||||
All action takes place in a single environment. Objects are presented to the user without
|
||||
All action takes place in a single environment. Objects are presented to the user without
|
||||
breaking the continuity of experience even as they transform and reorganize.
|
||||
|
||||
Motion is meaningful and appropriate, serving to focus attention and maintain continuity.
|
||||
Motion is meaningful and appropriate, serving to focus attention and maintain continuity.
|
||||
Feedback is subtle yet clear. Transitions are efficient yet coherent.
|
||||
|
||||
|
||||
@ -211,12 +211,12 @@
|
||||
|
||||
|
||||
|
||||
The material environment is a 3D space, which means all objects have x, y, and z
|
||||
dimensions. The z-axis is perpendicularly aligned to the plane of the display, with the
|
||||
positive z-axis extending towards the viewer. Every sheet of material occupies a single
|
||||
The material environment is a 3D space, which means all objects have x, y, and z
|
||||
dimensions. The z-axis is perpendicularly aligned to the plane of the display, with the
|
||||
positive z-axis extending towards the viewer. Every sheet of material occupies a single
|
||||
position along the z-axis and has a standard 1dp thickness.
|
||||
|
||||
On the web, the z-axis is used for layering and not for perspective. The 3D world is
|
||||
On the web, the z-axis is used for layering and not for perspective. The 3D world is
|
||||
emulated by manipulating the y-axis.
|
||||
|
||||
|
||||
@ -225,12 +225,12 @@
|
||||
|
||||
|
||||
|
||||
Within the material environment, virtual lights illuminate the scene. Key lights create
|
||||
Within the material environment, virtual lights illuminate the scene. Key lights create
|
||||
directional shadows, while ambient light creates soft shadows from all angles.
|
||||
|
||||
Shadows in the material environment are cast by these two light sources. In Android
|
||||
development, shadows occur when light sources are blocked by sheets of material at
|
||||
various positions along the z-axis. On the web, shadows are depicted by manipulating the
|
||||
Shadows in the material environment are cast by these two light sources. In Android
|
||||
development, shadows occur when light sources are blocked by sheets of material at
|
||||
various positions along the z-axis. On the web, shadows are depicted by manipulating the
|
||||
y-axis only. The following example shows the card with a height of 6dp.
|
||||
|
||||
|
||||
@ -239,8 +239,8 @@
|
||||
|
||||
|
||||
|
||||
All material objects, regardless of size, have a resting elevation, or default elevation
|
||||
that does not change. If an object changes elevation, it should return to its resting
|
||||
All material objects, regardless of size, have a resting elevation, or default elevation
|
||||
that does not change. If an object changes elevation, it should return to its resting
|
||||
elevation as soon as possible.
|
||||
|
||||
|
||||
@ -249,10 +249,10 @@
|
||||
|
||||
|
||||
|
||||
The resting elevation for a component type is consistent across apps (e.g., FAB elevation
|
||||
The resting elevation for a component type is consistent across apps (e.g., FAB elevation
|
||||
does not vary from 6dp in one app to 16dp in another app).
|
||||
|
||||
Components may have different resting elevations across platforms, depending on the depth
|
||||
Components may have different resting elevations across platforms, depending on the depth
|
||||
of the environment (e.g., TV has a greater depth than mobile or desktop).
|
||||
|
||||
|
||||
@ -261,16 +261,16 @@
|
||||
|
||||
|
||||
|
||||
Some component types have responsive elevation, meaning they change elevation in response
|
||||
to user input (e.g., normal, focused, and pressed) or system events. These elevation
|
||||
Some component types have responsive elevation, meaning they change elevation in response
|
||||
to user input (e.g., normal, focused, and pressed) or system events. These elevation
|
||||
changes are consistently implemented using dynamic elevation offsets.
|
||||
|
||||
Dynamic elevation offsets are the goal elevation that a component moves towards, relative
|
||||
to the component’s resting state. They ensure that elevation changes are consistent
|
||||
across actions and component types. For example, all components that lift on press have
|
||||
Dynamic elevation offsets are the goal elevation that a component moves towards, relative
|
||||
to the component’s resting state. They ensure that elevation changes are consistent
|
||||
across actions and component types. For example, all components that lift on press have
|
||||
the same elevation change relative to their resting elevation.
|
||||
|
||||
Once the input event is completed or cancelled, the component will return to its resting
|
||||
Once the input event is completed or cancelled, the component will return to its resting
|
||||
elevation.
|
||||
|
||||
|
||||
@ -279,17 +279,17 @@
|
||||
|
||||
|
||||
|
||||
Components with responsive elevations may encounter other components as they move between
|
||||
their resting elevations and dynamic elevation offsets. Because material cannot pass
|
||||
through other material, components avoid interfering with one another any number of ways,
|
||||
Components with responsive elevations may encounter other components as they move between
|
||||
their resting elevations and dynamic elevation offsets. Because material cannot pass
|
||||
through other material, components avoid interfering with one another any number of ways,
|
||||
whether on a per component basis or using the entire app layout.
|
||||
|
||||
On a component level, components can move or be removed before they cause interference.
|
||||
For example, a floating action button (FAB) can disappear or move off screen before a
|
||||
On a component level, components can move or be removed before they cause interference.
|
||||
For example, a floating action button (FAB) can disappear or move off screen before a
|
||||
user picks up a card, or it can move if a snackbar appears.
|
||||
|
||||
On the layout level, design your app layout to minimize opportunities for interference.
|
||||
For example, position the FAB to one side of stream of a cards so the FAB won’t interfere
|
||||
On the layout level, design your app layout to minimize opportunities for interference.
|
||||
For example, position the FAB to one side of stream of a cards so the FAB won’t interfere
|
||||
when a user tries to pick up one of cards.
|
||||
|
||||
|
||||
|
@ -164,16 +164,16 @@
|
||||
|
||||
|
||||
A material metaphor is the unifying theory of a rationalized space and a system of motion.
|
||||
The material is grounded in tactile reality, inspired by the study of paper and ink, yet
|
||||
The material is grounded in tactile reality, inspired by the study of paper and ink, yet
|
||||
technologically advanced and open to imagination and magic.
|
||||
|
||||
Surfaces and edges of the material provide visual cues that are grounded in reality. The
|
||||
use of familiar tactile attributes helps users quickly understand affordances. Yet the
|
||||
flexibility of the material creates new affordances that supercede those in the physical
|
||||
Surfaces and edges of the material provide visual cues that are grounded in reality. The
|
||||
use of familiar tactile attributes helps users quickly understand affordances. Yet the
|
||||
flexibility of the material creates new affordances that supercede those in the physical
|
||||
world, without breaking the rules of physics.
|
||||
|
||||
The fundamentals of light, surface, and movement are key to conveying how objects move,
|
||||
interact, and exist in space and in relation to each other. Realistic lighting shows
|
||||
The fundamentals of light, surface, and movement are key to conveying how objects move,
|
||||
interact, and exist in space and in relation to each other. Realistic lighting shows
|
||||
seams, divides space, and indicates moving parts.
|
||||
|
||||
|
||||
@ -182,13 +182,13 @@
|
||||
|
||||
|
||||
|
||||
The foundational elements of print based design typography, grids, space, scale, color,
|
||||
and use of imagery guide visual treatments. These elements do far more than please the
|
||||
eye. They create hierarchy, meaning, and focus. Deliberate color choices, edge to edge
|
||||
imagery, large scale typography, and intentional white space create a bold and graphic
|
||||
The foundational elements of print based design typography, grids, space, scale, color,
|
||||
and use of imagery guide visual treatments. These elements do far more than please the
|
||||
eye. They create hierarchy, meaning, and focus. Deliberate color choices, edge to edge
|
||||
imagery, large scale typography, and intentional white space create a bold and graphic
|
||||
interface that immerse the user in the experience.
|
||||
|
||||
An emphasis on user actions makes core functionality immediately apparent and provides
|
||||
An emphasis on user actions makes core functionality immediately apparent and provides
|
||||
waypoints for the user.
|
||||
|
||||
|
||||
@ -197,13 +197,13 @@
|
||||
|
||||
|
||||
|
||||
Motion respects and reinforces the user as the prime mover. Primary user actions are
|
||||
Motion respects and reinforces the user as the prime mover. Primary user actions are
|
||||
inflection points that initiate motion, transforming the whole design.
|
||||
|
||||
All action takes place in a single environment. Objects are presented to the user without
|
||||
All action takes place in a single environment. Objects are presented to the user without
|
||||
breaking the continuity of experience even as they transform and reorganize.
|
||||
|
||||
Motion is meaningful and appropriate, serving to focus attention and maintain continuity.
|
||||
Motion is meaningful and appropriate, serving to focus attention and maintain continuity.
|
||||
Feedback is subtle yet clear. Transitions are efficient yet coherent.
|
||||
|
||||
|
||||
@ -212,12 +212,12 @@
|
||||
|
||||
|
||||
|
||||
The material environment is a 3D space, which means all objects have x, y, and z
|
||||
dimensions. The z-axis is perpendicularly aligned to the plane of the display, with the
|
||||
positive z-axis extending towards the viewer. Every sheet of material occupies a single
|
||||
The material environment is a 3D space, which means all objects have x, y, and z
|
||||
dimensions. The z-axis is perpendicularly aligned to the plane of the display, with the
|
||||
positive z-axis extending towards the viewer. Every sheet of material occupies a single
|
||||
position along the z-axis and has a standard 1dp thickness.
|
||||
|
||||
On the web, the z-axis is used for layering and not for perspective. The 3D world is
|
||||
On the web, the z-axis is used for layering and not for perspective. The 3D world is
|
||||
emulated by manipulating the y-axis.
|
||||
|
||||
|
||||
@ -226,12 +226,12 @@
|
||||
|
||||
|
||||
|
||||
Within the material environment, virtual lights illuminate the scene. Key lights create
|
||||
Within the material environment, virtual lights illuminate the scene. Key lights create
|
||||
directional shadows, while ambient light creates soft shadows from all angles.
|
||||
|
||||
Shadows in the material environment are cast by these two light sources. In Android
|
||||
development, shadows occur when light sources are blocked by sheets of material at
|
||||
various positions along the z-axis. On the web, shadows are depicted by manipulating the
|
||||
Shadows in the material environment are cast by these two light sources. In Android
|
||||
development, shadows occur when light sources are blocked by sheets of material at
|
||||
various positions along the z-axis. On the web, shadows are depicted by manipulating the
|
||||
y-axis only. The following example shows the card with a height of 6dp.
|
||||
|
||||
|
||||
@ -240,8 +240,8 @@
|
||||
|
||||
|
||||
|
||||
All material objects, regardless of size, have a resting elevation, or default elevation
|
||||
that does not change. If an object changes elevation, it should return to its resting
|
||||
All material objects, regardless of size, have a resting elevation, or default elevation
|
||||
that does not change. If an object changes elevation, it should return to its resting
|
||||
elevation as soon as possible.
|
||||
|
||||
|
||||
@ -250,10 +250,10 @@
|
||||
|
||||
|
||||
|
||||
The resting elevation for a component type is consistent across apps (e.g., FAB elevation
|
||||
The resting elevation for a component type is consistent across apps (e.g., FAB elevation
|
||||
does not vary from 6dp in one app to 16dp in another app).
|
||||
|
||||
Components may have different resting elevations across platforms, depending on the depth
|
||||
Components may have different resting elevations across platforms, depending on the depth
|
||||
of the environment (e.g., TV has a greater depth than mobile or desktop).
|
||||
|
||||
|
||||
@ -262,16 +262,16 @@
|
||||
|
||||
|
||||
|
||||
Some component types have responsive elevation, meaning they change elevation in response
|
||||
to user input (e.g., normal, focused, and pressed) or system events. These elevation
|
||||
Some component types have responsive elevation, meaning they change elevation in response
|
||||
to user input (e.g., normal, focused, and pressed) or system events. These elevation
|
||||
changes are consistently implemented using dynamic elevation offsets.
|
||||
|
||||
Dynamic elevation offsets are the goal elevation that a component moves towards, relative
|
||||
to the component’s resting state. They ensure that elevation changes are consistent
|
||||
across actions and component types. For example, all components that lift on press have
|
||||
Dynamic elevation offsets are the goal elevation that a component moves towards, relative
|
||||
to the component’s resting state. They ensure that elevation changes are consistent
|
||||
across actions and component types. For example, all components that lift on press have
|
||||
the same elevation change relative to their resting elevation.
|
||||
|
||||
Once the input event is completed or cancelled, the component will return to its resting
|
||||
Once the input event is completed or cancelled, the component will return to its resting
|
||||
elevation.
|
||||
|
||||
|
||||
@ -280,17 +280,17 @@
|
||||
|
||||
|
||||
|
||||
Components with responsive elevations may encounter other components as they move between
|
||||
their resting elevations and dynamic elevation offsets. Because material cannot pass
|
||||
through other material, components avoid interfering with one another any number of ways,
|
||||
Components with responsive elevations may encounter other components as they move between
|
||||
their resting elevations and dynamic elevation offsets. Because material cannot pass
|
||||
through other material, components avoid interfering with one another any number of ways,
|
||||
whether on a per component basis or using the entire app layout.
|
||||
|
||||
On a component level, components can move or be removed before they cause interference.
|
||||
For example, a floating action button (FAB) can disappear or move off screen before a
|
||||
On a component level, components can move or be removed before they cause interference.
|
||||
For example, a floating action button (FAB) can disappear or move off screen before a
|
||||
user picks up a card, or it can move if a snackbar appears.
|
||||
|
||||
On the layout level, design your app layout to minimize opportunities for interference.
|
||||
For example, position the FAB to one side of stream of a cards so the FAB won’t interfere
|
||||
On the layout level, design your app layout to minimize opportunities for interference.
|
||||
For example, position the FAB to one side of stream of a cards so the FAB won’t interfere
|
||||
when a user tries to pick up one of cards.
|
||||
|
||||
|
||||
|
@ -161,16 +161,16 @@
|
||||
|
||||
|
||||
Materiál metafora je zjednocujúci teórie racionálne priestoru a systém pohybu.
|
||||
Materiál je zakotvená v taktilné skutočnosti, inšpirované štúdiom papiera a atramentu, ale napriek tomu
|
||||
Materiál je zakotvená v taktilné skutočnosti, inšpirované štúdiom papiera a atramentu, ale napriek tomu
|
||||
technologicky pokročilé a otvorené fantáziu a mágiu.
|
||||
|
||||
Povrchy a hrany materiálu poskytujú vizuálnu pokyny, ktoré sú zakotvené v realite.
|
||||
Použitie známych hmatových vlastností, pomáha používateľom rýchlo pochopiť affordances. napriek tomu
|
||||
Pružnosť materiálu vytvára nové affordances že nadradené tie fyzické
|
||||
Povrchy a hrany materiálu poskytujú vizuálnu pokyny, ktoré sú zakotvené v realite.
|
||||
Použitie známych hmatových vlastností, pomáha používateľom rýchlo pochopiť affordances. napriek tomu
|
||||
Pružnosť materiálu vytvára nové affordances že nadradené tie fyzické
|
||||
svet bez toho, aby porušenie pravidiel fyziky.
|
||||
|
||||
Základy svetla, povrchu a pohyb sú kľúčom k dopravovanie, ako sa objekty pohybovať,
|
||||
komunikovať, a existujú v priestore a vo vzťahu k sebe navzájom. Realistické svetelné šou
|
||||
Základy svetla, povrchu a pohyb sú kľúčom k dopravovanie, ako sa objekty pohybovať,
|
||||
komunikovať, a existujú v priestore a vo vzťahu k sebe navzájom. Realistické svetelné šou
|
||||
švy, rozdeľuje priestor, a indikuje pohyblivých častí.
|
||||
|
||||
|
||||
@ -179,13 +179,13 @@
|
||||
|
||||
|
||||
|
||||
Foundational prvky tlače na dizajn typografie, rošty, priestor, mierka, farby,
|
||||
a používanie metafor riadiť vizuálne procedúry. Tieto prvky robiť oveľa viac, než potešiť
|
||||
oko. Vytvárajú hierarchie, zmysel a zameranie. výber farieb úmyselné, od okraja k okraju
|
||||
snímok, rozsiahle typografie a úmyselné biely priestor vytvoriť tučný a grafický
|
||||
Foundational prvky tlače na dizajn typografie, rošty, priestor, mierka, farby,
|
||||
a používanie metafor riadiť vizuálne procedúry. Tieto prvky robiť oveľa viac, než potešiť
|
||||
oko. Vytvárajú hierarchie, zmysel a zameranie. výber farieb úmyselné, od okraja k okraju
|
||||
snímok, rozsiahle typografie a úmyselné biely priestor vytvoriť tučný a grafický
|
||||
rozhranie, ktoré ponorí užívateľov v zážitku.
|
||||
|
||||
Dôraz na užívateľských akcií činí základné funkcie okamžite zrejmé a poskytuje
|
||||
Dôraz na užívateľských akcií činí základné funkcie okamžite zrejmé a poskytuje
|
||||
waypointy pre užívateľov.
|
||||
|
||||
|
||||
@ -194,13 +194,13 @@
|
||||
|
||||
|
||||
|
||||
Návrh rešpektuje a posilňuje užívateľa ako hnacia sila. Primárne akcie užívateľa sú
|
||||
Návrh rešpektuje a posilňuje užívateľa ako hnacia sila. Primárne akcie užívateľa sú
|
||||
inflexné body, ktoré iniciujú pohyb, transformáciu celej konštrukcie.
|
||||
|
||||
Celá akcia prebieha v jedinom prostredí. Objekty sú prezentované užívateľovi bez toho,
|
||||
Celá akcia prebieha v jedinom prostredí. Objekty sú prezentované užívateľovi bez toho,
|
||||
prelomenie kontinuity skúseností, aj keď ich transformáciu a reorganizáciu.
|
||||
|
||||
Pohyb je zmysluplné a vhodné, slúžiace sústrediť pozornosť a zachovanie kontinuity.
|
||||
Pohyb je zmysluplné a vhodné, slúžiace sústrediť pozornosť a zachovanie kontinuity.
|
||||
Spätná väzba je jemné, ale napriek tomu jasné. Prechody sú ef fi točné ešte koherentné.
|
||||
|
||||
|
||||
@ -209,12 +209,12 @@
|
||||
|
||||
|
||||
|
||||
Materiál prostredie je 3D priestore, čo znamená, že všetky objekty majú X, Y, a Z
|
||||
rozmery. Os je kolmo zarovnaný k rovine zobrazenie, s
|
||||
kladná os rozširuje smerom k divákovi. Každý list materiálu, umiestnené v jednom
|
||||
Materiál prostredie je 3D priestore, čo znamená, že všetky objekty majú X, Y, a Z
|
||||
rozmery. Os je kolmo zarovnaný k rovine zobrazenie, s
|
||||
kladná os rozširuje smerom k divákovi. Každý list materiálu, umiestnené v jednom
|
||||
poloha pozdĺž osi a má štandardnú hrúbku 1DP.
|
||||
|
||||
Na webe, os sa používa pre vrstvenie a nie pre perspektívy. 3D svet
|
||||
Na webe, os sa používa pre vrstvenie a nie pre perspektívy. 3D svet
|
||||
emuloval tým, že manipuluje os y.
|
||||
|
||||
|
||||
@ -223,12 +223,12 @@
|
||||
|
||||
|
||||
|
||||
V hmotnom prostredí, virtuálne svetlá osvetľujú scénu. Kľúčové svetla vytvárajú
|
||||
V hmotnom prostredí, virtuálne svetlá osvetľujú scénu. Kľúčové svetla vytvárajú
|
||||
smerové tiene, zatiaľ čo okolité svetlo vytvára mäkké tiene zo všetkých strán.
|
||||
|
||||
Tiene v hmotnom prostredí sú obsadené týmito dvoma svetelnými zdrojmi. v Android
|
||||
vývoj, dochádza tiene, keď sú svetelné zdroje blokované plechového materiálu, na
|
||||
Rôzne pozície pozdĺž osi. Na webe tiene sú znázornené manipuláciou
|
||||
Tiene v hmotnom prostredí sú obsadené týmito dvoma svetelnými zdrojmi. v Android
|
||||
vývoj, dochádza tiene, keď sú svetelné zdroje blokované plechového materiálu, na
|
||||
Rôzne pozície pozdĺž osi. Na webe tiene sú znázornené manipuláciou
|
||||
Iba os y. Nasledujúci príklad ukazuje kartu s výškou 6dp.
|
||||
|
||||
|
||||
@ -237,8 +237,8 @@
|
||||
|
||||
|
||||
|
||||
Všetky významné objekty, bez ohľadu na ich veľkosť, majú výšku odpočíva, alebo predvolené výšku
|
||||
to nič nemení. V prípade, že objekt sa mení výšku, mal by sa vrátiť do svojej pokojovej
|
||||
Všetky významné objekty, bez ohľadu na ich veľkosť, majú výšku odpočíva, alebo predvolené výšku
|
||||
to nič nemení. V prípade, že objekt sa mení výšku, mal by sa vrátiť do svojej pokojovej
|
||||
nadmorskej výšky čo najskôr.
|
||||
|
||||
|
||||
@ -247,10 +247,10 @@
|
||||
|
||||
|
||||
|
||||
Pokojová nadmorská výška pre typ komponentu je konzistentné naprieč aplikáciami (napr FAB elevácie
|
||||
Pokojová nadmorská výška pre typ komponentu je konzistentné naprieč aplikáciami (napr FAB elevácie
|
||||
nelíši od 6dp v jednej aplikácii na 16dp v inej aplikácii).
|
||||
|
||||
Zložky môžu mať rôzne pokojovej výšky medzi platformami, v závislosti od hĺbky
|
||||
Zložky môžu mať rôzne pokojovej výšky medzi platformami, v závislosti od hĺbky
|
||||
životného prostredia (napr televízor má väčšiu hĺbku, ako mobilný telefón alebo plochy).
|
||||
|
||||
|
||||
@ -259,16 +259,16 @@
|
||||
|
||||
|
||||
|
||||
Niektoré typy komponentov majú citlivejší výšku, čo znamená, že meniť výšku v odozve
|
||||
na vstup používateľa (napríklad normálny priebeh, sa zameral, a lisované), alebo systémové udalosti. tieto elevácie
|
||||
Niektoré typy komponentov majú citlivejší výšku, čo znamená, že meniť výšku v odozve
|
||||
na vstup používateľa (napríklad normálny priebeh, sa zameral, a lisované), alebo systémové udalosti. tieto elevácie
|
||||
Zmeny sa vykonávali dôsledne používať dynamické výškové posuny.
|
||||
|
||||
Dynamické výškové posuny sú cieľom nadmorská výška, ktorá zložka sa pohybuje smerom, relatívna
|
||||
do pokojového stavu súčasti. Zaisťujú, že zmeny elevácie sú v súlade
|
||||
naprieč akcií a typov komponentov. Napríklad všetky súčasti, ktoré vlek na lise majú
|
||||
Dynamické výškové posuny sú cieľom nadmorská výška, ktorá zložka sa pohybuje smerom, relatívna
|
||||
do pokojového stavu súčasti. Zaisťujú, že zmeny elevácie sú v súlade
|
||||
naprieč akcií a typov komponentov. Napríklad všetky súčasti, ktoré vlek na lise majú
|
||||
rovnaká zmena prevýšenie vo vzťahu k ich prevýšenie odpočinku.
|
||||
|
||||
Akonáhle je vstupná udalosť dokončenie alebo zrušená, bude zložka vráti do svojej pokojovej
|
||||
Akonáhle je vstupná udalosť dokončenie alebo zrušená, bude zložka vráti do svojej pokojovej
|
||||
nadmorská výška.
|
||||
|
||||
|
||||
@ -277,17 +277,17 @@
|
||||
|
||||
|
||||
|
||||
Zložky s citlivými nadmorských výškach môže stretnúť s ďalšími komponentmi, ako sa pohybovať medzi
|
||||
ich odpočinku vyvýšeniny a dynamické výškové odsadenie. Vzhľadom k tomu, materiál nemôže prejsť
|
||||
prostredníctvom iného materiálu, komponenty nenarušovať spolu navzájom nejakom množstvo ciest,
|
||||
Zložky s citlivými nadmorských výškach môže stretnúť s ďalšími komponentmi, ako sa pohybovať medzi
|
||||
ich odpočinku vyvýšeniny a dynamické výškové odsadenie. Vzhľadom k tomu, materiál nemôže prejsť
|
||||
prostredníctvom iného materiálu, komponenty nenarušovať spolu navzájom nejakom množstvo ciest,
|
||||
či už na úrovni jednotlivých komponentov alebo s použitím kompletné rozloženie aplikácie.
|
||||
|
||||
Na úrovni komponentov môžu zložky presunúť alebo odstrániť skôr, než spôsobia rušenie.
|
||||
Napríklad tlačidlo plávajúce akcie (FAB) môžu zmiznúť alebo presunúť mimo obrazovku pred
|
||||
Na úrovni komponentov môžu zložky presunúť alebo odstrániť skôr, než spôsobia rušenie.
|
||||
Napríklad tlačidlo plávajúce akcie (FAB) môžu zmiznúť alebo presunúť mimo obrazovku pred
|
||||
Užívateľ zdvihne kartu, alebo sa môže pohybovať, ak sa objaví snackbar.
|
||||
|
||||
Na úrovni Usporiadanie, riešenie rozvrhnutie aplikácie, aby sa minimalizovalo príležitostí k rušeniu.
|
||||
Napríklad, umiestnenie FAB na jednej strane prúdu niekoľkých kariet, takže FAB nebude zasahovať
|
||||
Na úrovni Usporiadanie, riešenie rozvrhnutie aplikácie, aby sa minimalizovalo príležitostí k rušeniu.
|
||||
Napríklad, umiestnenie FAB na jednej strane prúdu niekoľkých kariet, takže FAB nebude zasahovať
|
||||
ak sa užívateľ pokúsi vyzdvihnúť jednu z kariet.
|
||||
|
||||
|
||||
|
@ -170,16 +170,16 @@
|
||||
|
||||
|
||||
A material metaphor is the unifying theory of a rationalized space and a system of motion.
|
||||
The material is grounded in tactile reality, inspired by the study of paper and ink, yet
|
||||
The material is grounded in tactile reality, inspired by the study of paper and ink, yet
|
||||
technologically advanced and open to imagination and magic.
|
||||
|
||||
Surfaces and edges of the material provide visual cues that are grounded in reality. The
|
||||
use of familiar tactile attributes helps users quickly understand affordances. Yet the
|
||||
flexibility of the material creates new affordances that supercede those in the physical
|
||||
Surfaces and edges of the material provide visual cues that are grounded in reality. The
|
||||
use of familiar tactile attributes helps users quickly understand affordances. Yet the
|
||||
flexibility of the material creates new affordances that supercede those in the physical
|
||||
world, without breaking the rules of physics.
|
||||
|
||||
The fundamentals of light, surface, and movement are key to conveying how objects move,
|
||||
interact, and exist in space and in relation to each other. Realistic lighting shows
|
||||
The fundamentals of light, surface, and movement are key to conveying how objects move,
|
||||
interact, and exist in space and in relation to each other. Realistic lighting shows
|
||||
seams, divides space, and indicates moving parts.
|
||||
|
||||
|
||||
@ -188,13 +188,13 @@
|
||||
|
||||
|
||||
|
||||
The foundational elements of print based design typography, grids, space, scale, color,
|
||||
and use of imagery guide visual treatments. These elements do far more than please the
|
||||
eye. They create hierarchy, meaning, and focus. Deliberate color choices, edge to edge
|
||||
imagery, large scale typography, and intentional white space create a bold and graphic
|
||||
The foundational elements of print based design typography, grids, space, scale, color,
|
||||
and use of imagery guide visual treatments. These elements do far more than please the
|
||||
eye. They create hierarchy, meaning, and focus. Deliberate color choices, edge to edge
|
||||
imagery, large scale typography, and intentional white space create a bold and graphic
|
||||
interface that immerse the user in the experience.
|
||||
|
||||
An emphasis on user actions makes core functionality immediately apparent and provides
|
||||
An emphasis on user actions makes core functionality immediately apparent and provides
|
||||
waypoints for the user.
|
||||
|
||||
|
||||
@ -203,13 +203,13 @@
|
||||
|
||||
|
||||
|
||||
Motion respects and reinforces the user as the prime mover. Primary user actions are
|
||||
Motion respects and reinforces the user as the prime mover. Primary user actions are
|
||||
inflection points that initiate motion, transforming the whole design.
|
||||
|
||||
All action takes place in a single environment. Objects are presented to the user without
|
||||
All action takes place in a single environment. Objects are presented to the user without
|
||||
breaking the continuity of experience even as they transform and reorganize.
|
||||
|
||||
Motion is meaningful and appropriate, serving to focus attention and maintain continuity.
|
||||
Motion is meaningful and appropriate, serving to focus attention and maintain continuity.
|
||||
Feedback is subtle yet clear. Transitions are efficient yet coherent.
|
||||
|
||||
|
||||
@ -218,12 +218,12 @@
|
||||
|
||||
|
||||
|
||||
The material environment is a 3D space, which means all objects have x, y, and z
|
||||
dimensions. The z-axis is perpendicularly aligned to the plane of the display, with the
|
||||
positive z-axis extending towards the viewer. Every sheet of material occupies a single
|
||||
The material environment is a 3D space, which means all objects have x, y, and z
|
||||
dimensions. The z-axis is perpendicularly aligned to the plane of the display, with the
|
||||
positive z-axis extending towards the viewer. Every sheet of material occupies a single
|
||||
position along the z-axis and has a standard 1dp thickness.
|
||||
|
||||
On the web, the z-axis is used for layering and not for perspective. The 3D world is
|
||||
On the web, the z-axis is used for layering and not for perspective. The 3D world is
|
||||
emulated by manipulating the y-axis.
|
||||
|
||||
|
||||
@ -232,12 +232,12 @@
|
||||
|
||||
|
||||
|
||||
Within the material environment, virtual lights illuminate the scene. Key lights create
|
||||
Within the material environment, virtual lights illuminate the scene. Key lights create
|
||||
directional shadows, while ambient light creates soft shadows from all angles.
|
||||
|
||||
Shadows in the material environment are cast by these two light sources. In Android
|
||||
development, shadows occur when light sources are blocked by sheets of material at
|
||||
various positions along the z-axis. On the web, shadows are depicted by manipulating the
|
||||
Shadows in the material environment are cast by these two light sources. In Android
|
||||
development, shadows occur when light sources are blocked by sheets of material at
|
||||
various positions along the z-axis. On the web, shadows are depicted by manipulating the
|
||||
y-axis only. The following example shows the card with a height of 6dp.
|
||||
|
||||
|
||||
@ -246,8 +246,8 @@
|
||||
|
||||
|
||||
|
||||
All material objects, regardless of size, have a resting elevation, or default elevation
|
||||
that does not change. If an object changes elevation, it should return to its resting
|
||||
All material objects, regardless of size, have a resting elevation, or default elevation
|
||||
that does not change. If an object changes elevation, it should return to its resting
|
||||
elevation as soon as possible.
|
||||
|
||||
|
||||
@ -256,10 +256,10 @@
|
||||
|
||||
|
||||
|
||||
The resting elevation for a component type is consistent across apps (e.g., FAB elevation
|
||||
The resting elevation for a component type is consistent across apps (e.g., FAB elevation
|
||||
does not vary from 6dp in one app to 16dp in another app).
|
||||
|
||||
Components may have different resting elevations across platforms, depending on the depth
|
||||
Components may have different resting elevations across platforms, depending on the depth
|
||||
of the environment (e.g., TV has a greater depth than mobile or desktop).
|
||||
|
||||
|
||||
@ -268,16 +268,16 @@
|
||||
|
||||
|
||||
|
||||
Some component types have responsive elevation, meaning they change elevation in response
|
||||
to user input (e.g., normal, focused, and pressed) or system events. These elevation
|
||||
Some component types have responsive elevation, meaning they change elevation in response
|
||||
to user input (e.g., normal, focused, and pressed) or system events. These elevation
|
||||
changes are consistently implemented using dynamic elevation offsets.
|
||||
|
||||
Dynamic elevation offsets are the goal elevation that a component moves towards, relative
|
||||
to the component’s resting state. They ensure that elevation changes are consistent
|
||||
across actions and component types. For example, all components that lift on press have
|
||||
Dynamic elevation offsets are the goal elevation that a component moves towards, relative
|
||||
to the component’s resting state. They ensure that elevation changes are consistent
|
||||
across actions and component types. For example, all components that lift on press have
|
||||
the same elevation change relative to their resting elevation.
|
||||
|
||||
Once the input event is completed or cancelled, the component will return to its resting
|
||||
Once the input event is completed or cancelled, the component will return to its resting
|
||||
elevation.
|
||||
|
||||
|
||||
@ -286,17 +286,17 @@
|
||||
|
||||
|
||||
|
||||
Components with responsive elevations may encounter other components as they move between
|
||||
their resting elevations and dynamic elevation offsets. Because material cannot pass
|
||||
through other material, components avoid interfering with one another any number of ways,
|
||||
Components with responsive elevations may encounter other components as they move between
|
||||
their resting elevations and dynamic elevation offsets. Because material cannot pass
|
||||
through other material, components avoid interfering with one another any number of ways,
|
||||
whether on a per component basis or using the entire app layout.
|
||||
|
||||
On a component level, components can move or be removed before they cause interference.
|
||||
For example, a floating action button (FAB) can disappear or move off screen before a
|
||||
On a component level, components can move or be removed before they cause interference.
|
||||
For example, a floating action button (FAB) can disappear or move off screen before a
|
||||
user picks up a card, or it can move if a snackbar appears.
|
||||
|
||||
On the layout level, design your app layout to minimize opportunities for interference.
|
||||
For example, position the FAB to one side of stream of a cards so the FAB won’t interfere
|
||||
On the layout level, design your app layout to minimize opportunities for interference.
|
||||
For example, position the FAB to one side of stream of a cards so the FAB won’t interfere
|
||||
when a user tries to pick up one of cards.
|
||||
|
||||
|
||||
|
@ -29,10 +29,12 @@
|
||||
<string-array name="theme_description_list">
|
||||
<item>@string/light_theme_title</item>
|
||||
<item>@string/dark_theme_title</item>
|
||||
<item>@string/black_theme_title</item>
|
||||
</string-array>
|
||||
<string-array name="theme_list">
|
||||
<item>@string/light_theme_title</item>
|
||||
<item>@string/dark_theme_title</item>
|
||||
<item>@string/black_theme_title</item>
|
||||
</string-array>
|
||||
|
||||
<string name="default_audio_format_key" translatable="false">default_audio_format</string>
|
||||
|
@ -49,6 +49,10 @@
|
||||
<item name="rss">@drawable/ic_rss_feed_black_24dp</item>
|
||||
</style>
|
||||
|
||||
<style name="BlackTheme" parent="DarkTheme">
|
||||
<item name="android:windowBackground">@color/black</item>
|
||||
</style>
|
||||
|
||||
<style name="NewPipeActionbarTheme" parent="Widget.AppCompat.Light.ActionBar.Solid">
|
||||
<item name="android:displayOptions">showHome</item>
|
||||
<item name="displayOptions">showHome</item>
|
||||
@ -107,6 +111,11 @@
|
||||
<item name="windowNoTitle">true</item>
|
||||
</style>
|
||||
|
||||
<style name="BlackTheme.NoActionBar">
|
||||
<item name="windowActionBar">false</item>
|
||||
<item name="windowNoTitle">true</item>
|
||||
</style>
|
||||
|
||||
<style name="AppTheme.AppBarOverlay" parent="ThemeOverlay.AppCompat.Dark.ActionBar" />
|
||||
|
||||
<style name="AppTheme.PopupOverlay" parent="ThemeOverlay.AppCompat.Light" />
|
||||
|
Loading…
Reference in New Issue
Block a user