Mat prefix: css — mat-prefix to work on the input not the label

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css — mat-prefix to work on the input not the label


Asked


Modified
1 year, 7 months ago


Viewed
15k times

So using material we have some code to ask a question, the input we would like to add a $ sign to the front of or use a place holder. inside of this mat field we also have a mat-label. If I use matprefix it puts the dollar sign infront of the label not the input field. Can anyone suggest a way to do this?

<mat-form-field floatLabel="always">
        <!-- <mat-label>Amount of service or tow? </mat-label> -->
        <label>What was the amount of the service or tow bill?<span>*</span></label>
        <input matInput formControlName="serviceBillAmount"  />
        <span matPrefix>$&nbsp;</span>
        <mat-error *ngIf="fieldInvalid('serviceBillAmount')"> The dollar amount you entered is invalid.  Please try again.</mat-error>
    </mat-form-field>
  • css
  • angular-material
  • angular6






5

Take a look at this example, try comparing that with your code, matPrefix and matSuffix should not collide with any labels placed on the form field. Keep in mind since you are using Angular Material you should stick to the structures provided in the framework, in this case, you should use a mat-label tag instead of just label






4

This one works for me after spending so much time.

HTML

<mat-form-field appearance="outline">
    <mat-label>Amount</mat-label>
    <span matPrefix>$ &nbsp;</span>
    <input matInput placeholder="0" formControlName="amount">
</mat-form-field>

CSS

. mat-form-field.mat-form-field-should-float .mat-form-field-infix{
    position: initial;
}
.mat-form-field.mat-form-field-should-float .mat-form-field-label-wrapper{
    top: 0;
    left: 15px;
}







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typescript — how to align angular mat prefix to a label in a form field


Asked


Modified
1 year, 7 months ago


Viewed
3k times

As you can see on the screenshot guys , I have a prefix for an input but the problem is it is not aligned with the mat label ..is there a way we can modify the mat prefix that it will be align with the mat label ? Thanks for any help and ideas , appreciated.

it should be something like this

enter image description here

#html code

 <mat-form-field appearance="fill">
            <mat-label>Termination Payment ($)</mat-label>
            <input 
              name="terminationPayment" 
              matInput
              (keyup) = "computeBuyout()"
              mask="separator. 0" 
              thousandSeparator=","
              [allowNegativeNumbers]="false"
              [(ngModel)]="dealDispositionFormFields.terminationPayment"
              >
              <span matPrefix *ngIf="dealDispositionFormFields.terminationPayment">$</span>
          </mat-form-field>

current issue — screenshot

  • angular
  • typescript
  • angular-material

We are going to need to make few changes to the default label wrapper class: shift it left and make sure it is visible. As the label wrapper class is nested quite deeply we need to use mark our overwrite as ::ng-deep. This modifier will ensure that all sub-components will be effect (be careful with this for the same reason).

Firstly, shift the label left by the size of the icon. By default, mat-form-field-prefix (class used by icons) have a size of 12.953px. By shifting the form label left by this amount it should line up perfectly with the prefix icon.

Next make sure that shifted text would be visible. By default, mat-form-field-label-wrapper set overflow to hidden so we are going to have to change that. We can achieve this by setting the overflow to visible.

Put together, the class to overwrite the default styling looks like this:

::ng-deep .mat-form-field-label-wrapper {
  overflow: visible;
  margin-left: -12.953px;
}

Tested against the example documentation here. Final result should look like this:






4







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EGGER MFC surface textures, PG, H, ST, U, PM PREFIX DESIGNATIONS

A strong effect is achieved through a precise combination of decor pattern and structure relief. The selected surface structure is optimally matched to the decor. All structures are presented here at an overview.

1) 3) 4)

1) HG High Gloss — «This is a smooth, high gloss texture that is particularly well suited to premium uni colors and woods.»

2) PM PerfectSense Matt — «High quality matte finish guarantees a warm and velvety feel combined with high durability and a finger-free touch.»

3) SM Matt Silk — This structure gives the decor a smooth, painted surface without relief.


4) ST2 Soft Pearl — This is a strong, impact-resistant structure with a very fine surface and a medium gloss level, ideal for use with uni colors and mother-of-pearl decors.

5) 6) 7) 8)

5) ST15 Office — This is a smooth, low-gloss structure that does not require much maintenance. This structure works well with uni colors in rich colors and a wide range of wood reproductions.

6) ST9 Soft Matt — Creates a very soft and natural look when combined with uni colours. This structure is in line with the current trend towards the use of matt surfaces.

7) ST10 Rough Deep Pore — Very authentic, natural texture for solid wood and stone effect decors.

8) ST12 Pores, matt — All over the surface of the decors made in this structure, there are longitudinal pores with an uneven distribution and different depths, which gives the surface the appearance of a natural material. The shallow texture makes this surface velvety, pleasant to the touch.

9) 10) 11) 12)

9) PG PerfectSense Gloss — «PerfectSense Gloss has an exceptionally smooth surface with a pronounced mirror effect.»

10) ST22 Linear deep pores — Deeply brushed surface with a matt gloss effect of longitudinally arranged wood grains. The relief of this structure contributes to the very natural surface of woodgrain decors with a longitudinal pattern, which gives them even more depth and naturalness.

11) ST28 Feelwood natural — This structure feels like a natural material when touched. The knots and pattern of the planks create a natural look, reminiscent of the surface of solid wood.

12) ST29 Feelwood ambiance — This structure looks unusual, but at the same time very elegant. It is ideal for creating stylish, sophisticated designs in large areas. It draws a woody pattern with small indentations, creating a characteristic relief surface.

13) 14) 15) 16)

13) ST38 Softwood Feelwood — This structure looks like a deeply brushed softwood surface with a distinct pearlescent effect due to matt and glossy elements. In combination with uni colours, the surface in Feelwood Coniferous texture gives the impression of solid wood with paint or varnish applied to it.

14) ST37 Feelwood Rift — This structure looks like solid wood, which is further emphasized by the exact match of the relief and pattern of Halifax Oak decors, where cracks and knots can be felt to the touch.

15) ST33 Feelwood Craft — This surface shows a mix of matte and slightly glossy elements. The matt textured pores, reminiscent of brushed wood grooves, give the surface a beautiful depth effect which, combined with the pearly sheen, gives it a very natural look.

16) ST36 Feelwood Rough — This texture is a deeply roughened surface with a very natural, matte character that gives a very authentic look to a wide variety of woods.

70s matte letter | BookOnLime

This decade is called cold, dull. In the 1970s, poets born in the 1940s began to publish actively. (Christian Prijean, Anne-Marie Albiac, Emmanuelle Okard, Lionel Rey, etc.) Jean-Michel Molpois uses consonant verbs décanter, déchanter for this decade. Décanter is a multi-valued verb, in the first sense — to express and clarify (about liquid), in a figurative sense — to clarify, clarify (about thoughts). Déchanter (colloquial) also has several meanings: 1) to reduce arrogance, change tone, 2) to be disappointed. In both verbs, one hears the negative prefix dé- and singing — canto, chanter. Indeed, everything connected with the song, the lyre, all the values ​​of the European poetic tradition this decade declares doomed to failure. Against lyricism, flamboyance of metaphors, sound song effects, poets see the only remedy — updating the very concept of «word», returning to the letter. J.-M. Molpois writes: “In France in the 70s, a new generation of poets appears, which shows an interest in critical reflection, he cares about the rigor of form, and this is very pronounced, the desire for literalism is also important for him (“literal” is what strictly adheres to letters)» 1.

Literalism, matt anti-metaphorical writing succeeds Okard:

Les dix peintures
Sont étalées
En deux rangées de cinq
Elles ont toutes les dix
Les mêmes dimensions
Quarante-six centim ètres
Sur cinquante

[…]

On les regarde comme un tout

(Dix peintures de Raquel sur papier: 1971)

The TXT group becomes the new center of literary life, to which Christian Prigent brings “his energy to force analysis and language”2, he proceeds from the concepts J. Derrida and Y. Kristeva, in his baggage are the formalism of Tel Kel, and the revolt of the Dadaists, and Russian futurism. At 19In 1969, Prijean founded the TXT magazine (28 issues appear at irregular intervals until 1993.) The name TXT can be seen as a calling card of textualism: the word texte, from which all the cohesive stickiness and stringiness of vowels has been removed, remains recognizable thanks to the dry authenticity of consonants. It is no longer about poetry, the focus is on the poetic text. The myth of any “depth” is rejected, for the authors of this galaxy there is nothing under the words, neither the self-deception of the deity, nor the self-hypnosis of inspiration, nor the illusion of truth or beauty, poetry is only signs, the world of simulacra. The music of the verse is now called phonocentrism, the lyrics, subjective, monologue, are declared «a journey around one’s own navel.»

On the pages of TXT you can find such authors as Denis Roche, Philippe Sollers, Yulia Kristeva, Marcelin Plenet, their texts side by side with studies and essays on the work of Rabelais, Sade, Mayakovsky, Pound, Bakhtin. The Tel Kel magazine is still strong, it owns minds. TXT magazine brings together those young authors who are not attracted by either the renewal of lyricism or the purely linguistic experiment, they are ready for their own avant-garde assault on modernity.

Speaking about the poetry of the 60s and 70s, one constantly has to switch to philosophy, literary criticism, to the development of humanitarian scientific thought. The so-called «moderate structuralism» represented by J. Genet («Figures» 1966) and Ts. Todorov (“Literature and Meaning” (1967), “Grammar of the Decameron” 1969), is replenished not only with new books by Todorov (“Introduction to Fantastic Literature” 1970, “Poetics of Prose” 1971), but also with new names: the works of A. Meshonnik, N. Ruve, A. Mitterrand on textual semiotics, P. Guiraud and J. Cohen on stylistics, and the Mu group on rhetoric begin to appear.

In the 70s, post-structuralism, which appeared in the “cracks” of living structuralism3, gives new interpretations to literary works from antiquity to modern times. F. Sollers writes about Lautreamont, J. Kristeva, J. Derrida, R. Barth — about Mallarm, J. Derrida and J. Kristeva — about Socrates and Plato. J. Deleuze — about Kierkegaard and Nietzsche. Derrida opposes the principle of «centrism», which in any binary opposition gradually gives priority to one of the parties. Philosophy in this period falls into the focus of attention of poets, partly through the work of post-structuralists. Revision requires the concept of subjectivity/objectivity in writing, in the European tradition going back to the German idealists, in particular to Hegel. A new concept of the figure of the author is needed. “Unlike the structuralists, the post-structuralists took open philosophical positions from the very beginning. In the program books of J. Derrida (“On Grammar”, 1967; «Positions», 1972; “Spurs, Styles of Nietzsche”, 1978; “Postcard, from Socrates to Freud and beyond”, etc.), J. Deleuze (“Difference and repetition”, 1969, “Logic of meaning” 1970, “Anti-Oedipus”, 1972) M. Foucault of the period of “archaeology of knowledge” (“Archaeology of Knowledge”, 1969) and “Genealogy of Power” (“Supervise and Punish”, 1975; “Will to Knowledge”, 1976) and J.-F. Lyotard (“Postmodern State”, 1979 […]) it was shown that structuralist scientism is one of the modern variants of the “philosophy of identity” (through Hegel ascending to Plato), and a decisive turn was made towards the irrationalist “philosophy of difference”, oriented on Nietzsche and Heidegger.”4

Derrida publishes his first post-structuralist work, Power and Meaning, as early as 1963; in 1967, the collection Letter and Difference is published. Poets take out the words écriture (writing) and différance (difference) from there, and build in their desire for cold, dull writing.

This approach can be illustrated by the words of Claude Royer-Journou: “To say that this hand is made of flesh, I find it more exciting than the earth is blue as an orange”5, says the poet, debunking the mysterious line of G. Apollinaire, which is still Since then, several generations have been enthusiastically repeating one after another. If Royer-Journou uses color, then directly, anti-metaphorically: “Red. Blue. Violet. Green. These colors are to make one gesture,” we read in the poem “Lover and Image”. Its text is presented in the form of a numbered series of laconic statements:

1

… L’enfant déjà parle aux foules. Sa main reconnaît le dehors.

2

Le regard est en arrière. Il vient de trop loin pour s’arrêter.

3

Ruines, quelques personnages que la peinture retient — que le caré divise ou accompagne.

4

Rouge. Bleu. Violet. Vert. Ces couleurs pour accomplir un geste.

5

La douleur. Corps offert au regard. Le sens réside dans la possibilité de reconnaître…

6

Les marches du temple. Des morts resurgissent et bousculent les categories anciennes.

7

L’espace visuel, par essence, n’a pas de proprietaire. La lumiere ne heurte plus les objets.

8

Dans les herbes, je distingue à peine les animaux. Une transparency. Et ce paysage sans eau. Cette verticalité qui repousse la mer. L’air et les cris. Graves ou aigus. Tout cela foot incertain. Je circule à côté de ton sommeil. La surprise est dans ta bouche.

9

Froissement maternel de la voix. Quelques mots devant la peur. Elle fouille et dechire. Les mots ont quitte la bouche comme une massue. Ils ont voulu faire mal. Les objets contiennent l’infini.

Minimalism of the 70s is called the «winter gardens of poetry», which, of course, is a metaphor, and contradicts the very method of dealing with the word in those years. During this period, poets fundamentally abandon musicality and narrative, placing a few words on the page — in this case they speak of airy layout, mise en page aérée. So, for example, Claude Royer-Journou acts:

this circle
overloaded with color
the location of the lighthouse
the legend gives no indication

* * *

nothing indicates this
or else
the fabric turned into a mask the thought air of the page becomes rarefied , alpine, and then the words say goodbye to gravity altogether. The influence of the ideas of anti-centrism of Jacques Derrida is palpable in the desire of Anne-Marie Albiac to abolish the «laws of gravity», her word overcomes any attraction:

la division

anonyme

astreinte

diverge vers

la TEXTURE

où se décline

Espace

90 002 une identité parentale

Respiration

d’une mesure

vers

Tactiles les énergies

obscurcissent

un lieu

la dénégation récidivée […]

(Figure vocative)

The combination of different typefaces on the same page brings to mind Stéphane Mallarm and his poem «A roll of the dice will never eliminate the game of chance» (1897), which he himself called the verbal score.

It is important that the figure of the author completely disappears, the figure of the author is erased, there is no metaphorical transfer to natural phenomena (which we saw in Yves Bonfoy, Neige pp. 53–56), so, for example, in Royer-Journe there is only a gesture of the writing hand:

la mainmise du neutre
quand le corps est une phrase à venir7

But the idea that the text is a continuation of the body of the writer appears, which will be picked up in subsequent decades by poets of different trends and aesthetic concepts, far from the minimalism of the 70s.

Claude Royer-Journou started his work in the 1960s with a fruitful collaboration with Anne-Marie Albiac and the publication of the magazine Siècle à mains.

In 1973 he founded a new journal with the incredible title llanfairpwllgwyngyllgogerrychwyrndrobwlllantysiliogogogoch, a fundamentally impossible, unpronounceable statement confirming a complete departure from articulation: the text turns away from oral speech.

In the program text «Idées sur une lecture démonstrative Particulièrement rapide», Denis Roche gives a maxim that has become the most quoted of his entire work: «La poésie est inadmissible. D’ailleurs elle n’existe pas. (“Poetry is unacceptable. However, it does not exist.”)

It can be seen that negation constantly appears in the author’s position of the poets of the 70s. Emmanuel Ocard speaks of negative modernity (“modernité négative”), which is understood as the elimination, destruction of the superfluous, purification.

At the same time, much attention is paid to the volume and movement of the text, its rhythm: “The book itself is understood as a “volume” (the word volume is multi-valued, the meaning of “volume” appears — my note), an object, first of all, creating a space where the text establishes own rhythm, own movement, own breath.”8

At the same time, inevitably, the visual representation of the text implicitly refers to auditory or even kinesthetic perception, rhythm and breathing can be perceived at the level of auditory imagination, with which the poets of subdued “matte writing” initially seek to break.

Spatial, visual and kinesthetic metaphors imperceptibly creep into the characteristics of this letter. So, for example, Emmanuel Ocard, looking for support in Wittgenstein’s philosophy, calls his writing «une écriture tabulaire» (smooth, horizontal, flat) and strives for the language Langue à plat (flat language, or final language, if you keep the polysemy of expression in focus a plat). The fluctuation between two meanings when creating an expression that contradicts the frequency compatibility of lexemes is inevitably associated with the transfer of meanings, whether it be a metaphor or another figure, but the final objective and flat language is still not obtained.

Attention and love for American objectivist poets (Charles Reznikoff, George Oppen, Louis Zhukovsky), due to the proximity of poetics, ensures both the distribution of texts by American authors in Europe and the recognition of French poets of the 70s in America. “In the summer of 1997, greeting cards in honor of the 60th anniversary of Anne-Marie Albiac, signed by many poets, were distributed in the United States. The initiative came from Kevin Killian, who, to my knowledge, is not a personal friend of Albiac. The birthday itself was celebrated in the form of public readings in San Francisco. The «love affair» between French and American poetry certainly continues. Here’s another, more literary example: when Emmanuel Ocard translated The Baudelaire Series from Michael Palmer’s The Sun, he had the feeling that he was «writing a book that he didn’t write.» He “continued” the translation “by writing his own collection of poems, Théorie des tables” (“The Theory of Tables”), on which Palmer “printed” and which Palmer then himself translated into English”9.

Even if the poet of this generation turns to the traditional genre (as, for example, Emmanuelle Okart — to the elegy), the characteristic features of the poetics of the 70s are still felt: the rejection of narrative and pictorialism, attention to detail, disclosure of the text as a juxtaposition of fragments .

Literary critic A. Vinogradova-De-La-Fortelle emphasizes that this style of writing arose as a protest against blindly following the creative experience of the surrealists. The “minimalists” countered the verbose rhetoric of the “lyricists” with laconicism and restraint of poetic expression, sometimes bordering on the complete “suffocation” of the word (not without reason in criticism this time was often called the period of “glaciation” of French poetry, the era of its “winter poems”). One of the main postulates of the adherents of «minimalism» was the rejection of those «lyrical illusions» of poetry in general and surrealist poetry in particular, which Francis Ponge once called «romantic-lyrical cancer», and the modern poet and critic Christian Prigent designated even more aggressively and provocatively, as “a drooling gaping “I””.10

Christian Prijean works a lot with sound, through him there is a link between visual and sonor poetry, which develops autonomously and independently in the 70s.

The case begun in the 1970s by Anne-Marie-Albiac, Emmanuel Haucard, Claude Royer-Journou — to immerse the word in a state of hibernation, to subject it to cold logic — would later be picked up by Olivier Cadio and Pierre Alferi.


1 “En France, dans les années soixante-dix, apparaît une nouvelle génération de poètes qui manifeste un souci de réflexivité critique et de rigueur formelle très accusé, et qui vise cette fois la littéralité. (Est dit «litteral» ce qui s’en tient strictement à la lettre).” [http://www.maulpoix.net/decanter.html]

2 Sabatier R. La poésie du vingtième siècle, 3. Albin Michel, 1988. – p. 686.

3 More about this Kosikov G.K. «Structure» and/or «text» (strategies of modern science)// French semiotics: From structuralism to poststructuralism. – M.: IG Progress, 2000.- p. 9.

4 Ibid.

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