motion-ui-morph

Imported from nexu-io/open-design (plugins/_official/examples/motion-ui-morph/SKILL.md). Install upstream with npx skills add nexu-io/open-design --skill motion-ui-morph. Copyright stays with the author.

One-Shape UI Motion

A 14-second code-only UI motion piece, rebuilt from the viral original: one shape morphs from a button into a loader, player, slider, toggle, tabs, chart, command palette and toast, driven by a cursor at 120 BPM. example.html is the finished reference — start from it.

The reference timing and beat map describe the demo. Adapt them to the user's requested duration and content; do not force the reference duration or music.

Source

A remake of a viral post by @twoclipping: https://x.com/twoclipping/status/2103273003555402193 (1.03M views · 12K likes · 20K bookmarks on X (as of 2026-10-05)). The composition is rebuilt in code from the published piece; the soundtrack is original.

Reference files

Copy example.html, assets/geist-OFL.txt, assets/geist-medium.ttf, assets/geist-regular.ttf, assets/geist-semibold.ttf, assets/gsap.min.js into the composition, preserving the assets/ path. Copy the demo soundtrack only if selected under the Sound guidance below. Font licenses travel with their fonts. Use these frozen local bytes; no runtime script or font CDN is needed.

Art direction

• Warm light-gray canvas #EDEDE8, black #0A0A0A and white components, toggle track #D0D1CA; one soft drop shadow.
• Font (SIL OFL, bundled): Geist Regular, Medium and SemiBold.
• The original is a 1440×1440 square; this reference keeps its scale on a 1920×1080 stage.

Beat map (14s)

• 120 BPM, 7 bars: Generate button → loader → check → dynamic island → music player (play/pause morph, scrub) → volume slider that stretches past max → toggle → liquid tab indicator → chart that draws itself with a hover tooltip and a Week switch → ⌘K palette (type "frame", enter) → toast → Generate button.
• The last frame matches the first, so it loops.

Adapting the template

• Replace the UI states in SHAPE and their contents; keep one shape that never cuts, springs summed per change, and a cursor that causes every change.

How the reference is built

• One composition root with canvas layers. A single render(t) draws the whole frame from the master timeline time t; constants at the top hold copy, palette and timing so the film can be re-themed in one place.
• Every visible value is a pure function of t (eases, springs or keyframes evaluated from time). No state carries between frames.

Preview and video export

Keep the stage edge to edge in both gallery and MP4 capture. Playback controls are an overlay that stays transparent until hovered or focused; never reserve stage space for them or include them in the poster. Inside an Open Design project the motion source player fits the stage and owns the controls, so the preview shell yields its own fit and controls there.

The GSAP master timeline is the only clock. Render every visible layer from its current time in the per-frame loop: export seeks suppress timeline callbacks. Schedule the next animation frame before drawing so one failed frame cannot stop the loop. Backward seeks must reproduce identical frames. Await bundled fonts before playback and signal preview-ready at a legible hero frame. Preserve window.__timelines and the composition's timing attributes. Avoid large canvas gradients and per-pixel noise: they make every captured frame expensive and slow the MP4 export.

Sound

assets/soundtrack.mp3 is an original 14-second score made for this template and timed to its beats; no audio from the source video is used. The bundled track is demo material, not a requirement for generated films. The user's current brief takes priority over this reference and its seed prompt, including duration, music choice, genre, mood, voiceover and sound effects. Follow the general motion-design audio guidance; this template does not disable available audio tools or original audio synthesis.

• If the user requests a silent film, remove all audio. If they request only no background music, remove the music but retain any requested sound effects or voiceover. No voiceover does not mean no music.
• Use the user's supplied audio when requested. If they request different music, choose or create a suitable real local asset using the available audio tools, licensed sources or original synthesis. Do not silently substitute the demo track for an unmet request; briefly disclose any limitation.
• Without a specific music request, add appropriate audio when it benefits the film. Reuse the demo track only when it suits the actual story, mood and timing; it is an option, not the default for every adaptation.
• Fit the visuals and audio to the requested film duration, not to the demo's duration. For example, a 15-second brief stays 15 seconds even when the demo score is 20 seconds. Edit the selected track with a deliberate ending/fade; use the same edited local file in HTML and MP4. For a longer film, arrange or replace the track to cover the intended beats rather than leaving an accidental silent tail. Do not rely on an HTML-only loop or playbackRate for export.

For background music keep id="soundtrack", data-start="0" and a numeric data-volume; update src and data-duration to the actual edited asset and film. Remove unused demo audio from the generated composition. Set the source's od-motion-audio metadata to required when sound is intended, or silent for an intentionally silent film, using the general motion-design delivery guidance. Verify the ending and audio in both HTML playback and the exported MP4.

The <audio> element stays inside the composition root; the desktop exporter mixes its local file into the MP4. Preview sound starts with the film; when the browser blocks autoplay, the first click or key press turns it on, and Sound off mutes it. Sound follows the master timeline, including pause and backward seeks. Keep it silent during frame capture and in sandboxed gallery thumbnails.