我试图在纯CSS中实现截断的文本按钮。不幸的是，＆＃34;显示更多＆＃34;按钮不会忽略预告片和文本正文中的br标签或任何其他相关的html，并且它被按下，在预告片文本下方留下太多的空白区域。 ＆＃34;显示更多＆＃34;按钮应该在前贴片文本中的最后一个单词旁边，我希望能够创建换行符，而不会影响show more按钮。这是我的尝试：
https://jsfiddle.net/38vpy56q/
HTML：
<div>
<input type="checkbox" class="read-more-state" id="post-1" />
<p class="read-more-wrap">
Clifton Benevento is pleased to present "Thinking Creatively With Pictures",
a solo exhibition of paintings and a video by New York based artist Sofia Leiby.
<br />br />
<span class="read-more-target">
Leiby’s research in graphology led her to the field of psychometrics...
<br /> <br />
Leiby has indexed the graphic “stimuli” from The Wartegg Test...
<br /> <br />
Upon meeting artists Wassily Kandinsky and Paul Klee in the 1920s...
</span>
</p>
<label for="post-1" class="read-more-trigger"></label>
</div>
的CSS：
.read-more-state {
display: none;
}
.read-more-target {
opacity: 0;
max-height: 0;
font-size: 0;
transition: .25s ease;
}
.read-more-state:checked ~ .read-more-wrap .read-more-target {
opacity: 1;
font-size: inherit;
/* max-height: 999em;*/
}
.read-more-state ~ .read-more-trigger:before {
content: 'Show more';
}
.read-more-state:checked ~ .read-more-trigger:before {
content: 'Show less';
}
.read-more-trigger {
cursor: pointer;
display: inline-block;
/*padding: 0 .5em;*/
color: black;
font-size: .7em;
line-height: 1;
border: 0px solid #ddd;
br {
display: none;
}
}
答案 0 :(得分：1)
在段落中包含label将允许它将文本放在一边，并成为<p>的措辞内容的一部分，而不是</p>换行符之后。
你也应该在css中加入br，例子
.read-more-state {
display: none;
}
.read-more-target{
opacity: 0;
max-height: 0;
font-size: 0;
transition: .25s ease;
}
.read-more-wrap br {position:absolute;}
.read-more-state:checked ~ .read-more-wrap br {position:static}
.read-more-state:checked ~ .read-more-wrap .read-more-target {
opacity: 1;
font-size: inherit;
/* max-height: 999em;*/
}
.read-more-state ~ p .read-more-trigger:before {
content: 'Show more';
}
.read-more-state:checked ~ p .read-more-trigger:before {
content: 'Show less';
}
.read-more-trigger {
cursor: pointer;
display: inline;
/*padding: 0 .5em;*/
color: black;
font-size: .7em;
line-height: 1;
border: 0px solid #ddd;
}
/* border-radius: .25em;
}*/<div>
<input type="checkbox" class="read-more-state" id="post-1" />
<p class="read-more-wrap">Clifton Benevento is pleased to present “Thinking Creatively With Pictures”, a solo exhibition of paintings and a video by New York based artist Sofia Leiby. In her newest body of work, Leiby mines the rich history of “projective drawing tests”, graphic assessments originating in Gestalt psychology, to self-reflexively address the relationship between mark-making and subjectivity. <br /> <br />
<span class="read-more-target">Leiby’s research in graphology led her to the field of psychometrics, or the theory and techniques of psychological assessment, and the history of the graphic test. Used in psychology, these tests present graphic stimuli usually organized in a grid or box that the test-taker responds to with a drawing and a title. The test-taker is then analyzed based on her drawing performance, according to criteria such as drawing time, the order of the squares drawn, refusing to draw, the size and content of the drawings, crossing of the borders of the squares, etc. (artistic ability is not usually considered). Upon completion, the psychoanalyst can deduce personality and diagnose possible psychological disorders. Such criteria is recognized as subjective but still ‘scored’ according to a very particular set of rules. Similar tests are also used to measure gender-role identification, creativity and imagination in corporate hiring and even as a prerequisite exam to join the Italian Armed Forces (The Wartegg Test). The Torrance Test for Creative Thinking, which includes graphic completion components, is widely used today to identify gifted children across the U.S, although there is still a lack of research surrounding most graphic completion tests. <br /> <br />
Leiby has indexed the graphic “stimuli” from The Wartegg Test (Eugene Wartegg, 1939), The Medallion Test (W.N. de Vletter, 1942), the Torrance Test for Creative Thinking (Ellis Paul Torrance, 1958), The Test for Creative Thinking-Drawing Production (Urban & Jellen, 1995), the Franck Drawing Completion Test (Franck & Rosen, 1949), and other related exams as well as completed specimens. Using silkscreen, she collages these elements that serve as the compositional framework for abstract paintings both colorful and monochromatic. A new video, ‘How to Improve Your Handwriting’ uses humor to underscore the connection between personality and gesture. <br /> <br />
Upon meeting artists Wassily Kandinsky and Paul Klee in the 1920s, Wartegg took inspiration from Kandinsky’s graphic theories in ‘Point and Line to Plane’ when developing the stimuli of his own graphic test. In observing parallels between the field of psychometrics, art theory and criticism, Leiby brings the graphic marks relegated to psychoanalysis full circle back to the realm of fine art; working within her own test-taking environment, Leiby’s paintings function as self-assessments of the personality and creativity of the artist. </span> <label for="post-1" class="read-more-trigger"></label></p>
</div>
<img src="http://abelowdesign.com/sofialeiby/img/tcwp/3.jpg" width="400px">
https://jsfiddle.net/38vpy56q/2/
.read-more-state {
display: none;
}
.read-more-target{
opacity: 0;
max-height: 0;
font-size: 0;
transition: .25s ease;
}
.read-more-wrap br {float:left; margin:0 0;}
.read-more-state:checked ~ .read-more-wrap br {clear:both;margin: 0.5em 100% }
.read-more-state:checked ~ .read-more-wrap .read-more-target {
opacity: 1;
font-size: inherit;
/* max-height: 999em;*/
}
.read-more-state ~ p .read-more-trigger:before {
content: 'Show more';
}
.read-more-state:checked ~ p .read-more-trigger:before {
content: 'Show less';
}
.read-more-trigger {
cursor: pointer;
display: inline;
/*padding: 0 .5em;*/
color: black;
font-size: .7em;
line-height: 1;
border: 0px solid #ddd;
}
/* border-radius: .25em;
}*/<div>
<input type="checkbox" class="read-more-state" id="post-1" />
<p class="read-more-wrap">Clifton Benevento is pleased to present “Thinking Creatively With Pictures”, a solo exhibition of paintings and a video by New York based artist Sofia Leiby. In her newest body of work, Leiby mines the rich history of “projective drawing tests”, graphic assessments originating in Gestalt psychology, to self-reflexively address the relationship between mark-making and subjectivity. <br /> <br />
<span class="read-more-target">Leiby’s research in graphology led her to the field of psychometrics, or the theory and techniques of psychological assessment, and the history of the graphic test. Used in psychology, these tests present graphic stimuli usually organized in a grid or box that the test-taker responds to with a drawing and a title. The test-taker is then analyzed based on her drawing performance, according to criteria such as drawing time, the order of the squares drawn, refusing to draw, the size and content of the drawings, crossing of the borders of the squares, etc. (artistic ability is not usually considered). Upon completion, the psychoanalyst can deduce personality and diagnose possible psychological disorders. Such criteria is recognized as subjective but still ‘scored’ according to a very particular set of rules. Similar tests are also used to measure gender-role identification, creativity and imagination in corporate hiring and even as a prerequisite exam to join the Italian Armed Forces (The Wartegg Test). The Torrance Test for Creative Thinking, which includes graphic completion components, is widely used today to identify gifted children across the U.S, although there is still a lack of research surrounding most graphic completion tests. <br /> <br />
Leiby has indexed the graphic “stimuli” from The Wartegg Test (Eugene Wartegg, 1939), The Medallion Test (W.N. de Vletter, 1942), the Torrance Test for Creative Thinking (Ellis Paul Torrance, 1958), The Test for Creative Thinking-Drawing Production (Urban & Jellen, 1995), the Franck Drawing Completion Test (Franck & Rosen, 1949), and other related exams as well as completed specimens. Using silkscreen, she collages these elements that serve as the compositional framework for abstract paintings both colorful and monochromatic. A new video, ‘How to Improve Your Handwriting’ uses humor to underscore the connection between personality and gesture. <br /> <br />
Upon meeting artists Wassily Kandinsky and Paul Klee in the 1920s, Wartegg took inspiration from Kandinsky’s graphic theories in ‘Point and Line to Plane’ when developing the stimuli of his own graphic test. In observing parallels between the field of psychometrics, art theory and criticism, Leiby brings the graphic marks relegated to psychoanalysis full circle back to the realm of fine art; working within her own test-taking environment, Leiby’s paintings function as self-assessments of the personality and creativity of the artist. </span><label for="post-1" class="read-more-trigger"></label></p>
</div>
<img src="http://abelowdesign.com/sofialeiby/img/tcwp/3.jpg" width="400px">
https://jsfiddle.net/38vpy56q/3/
.read-more-state {
display: none;
}
.read-more-target{
opacity: 0;
max-height: 0;
font-size: 0;
transition: .25s ease;
}
.read-more-wrap br {display:none;}
.read-more-state:checked ~ .read-more-wrap br {display:initial;}
.read-more-state:checked ~ .read-more-wrap .read-more-target {
opacity: 1;
font-size: inherit;
/* max-height: 999em;*/
}
.read-more-state ~ p .read-more-trigger:before {
content: 'Show more';
}
.read-more-state:checked ~ p .read-more-trigger:before {
content: 'Show less';
}
.read-more-trigger {
cursor: pointer;
display: inline;
/*padding: 0 .5em;*/
color: black;
font-size: .7em;
line-height: 1;
border: 0px solid #ddd;
}
/* border-radius: .25em;
}*/<div>
<input type="checkbox" class="read-more-state" id="post-1" />
<p class="read-more-wrap">Clifton Benevento is pleased to present “Thinking Creatively With Pictures”, a solo exhibition of paintings and a video by New York based artist Sofia Leiby. In her newest body of work, Leiby mines the rich history of “projective drawing tests”, graphic assessments originating in Gestalt psychology, to self-reflexively address the relationship between mark-making and subjectivity. <br /> <br />
<span class="read-more-target">Leiby’s research in graphology led her to the field of psychometrics, or the theory and techniques of psychological assessment, and the history of the graphic test. Used in psychology, these tests present graphic stimuli usually organized in a grid or box that the test-taker responds to with a drawing and a title. The test-taker is then analyzed based on her drawing performance, according to criteria such as drawing time, the order of the squares drawn, refusing to draw, the size and content of the drawings, crossing of the borders of the squares, etc. (artistic ability is not usually considered). Upon completion, the psychoanalyst can deduce personality and diagnose possible psychological disorders. Such criteria is recognized as subjective but still ‘scored’ according to a very particular set of rules. Similar tests are also used to measure gender-role identification, creativity and imagination in corporate hiring and even as a prerequisite exam to join the Italian Armed Forces (The Wartegg Test). The Torrance Test for Creative Thinking, which includes graphic completion components, is widely used today to identify gifted children across the U.S, although there is still a lack of research surrounding most graphic completion tests. <br /> <br />
Leiby has indexed the graphic “stimuli” from The Wartegg Test (Eugene Wartegg, 1939), The Medallion Test (W.N. de Vletter, 1942), the Torrance Test for Creative Thinking (Ellis Paul Torrance, 1958), The Test for Creative Thinking-Drawing Production (Urban & Jellen, 1995), the Franck Drawing Completion Test (Franck & Rosen, 1949), and other related exams as well as completed specimens. Using silkscreen, she collages these elements that serve as the compositional framework for abstract paintings both colorful and monochromatic. A new video, ‘How to Improve Your Handwriting’ uses humor to underscore the connection between personality and gesture. <br /> <br />
Upon meeting artists Wassily Kandinsky and Paul Klee in the 1920s, Wartegg took inspiration from Kandinsky’s graphic theories in ‘Point and Line to Plane’ when developing the stimuli of his own graphic test. In observing parallels between the field of psychometrics, art theory and criticism, Leiby brings the graphic marks relegated to psychoanalysis full circle back to the realm of fine art; working within her own test-taking environment, Leiby’s paintings function as self-assessments of the personality and creativity of the artist. </span> <label for="post-1" class="read-more-trigger"></label></p>
</div>
<img src="http://abelowdesign.com/sofialeiby/img/tcwp/3.jpg" width="400px">
答案 1 :(得分：0)
在display: inline上尝试.read-more-trigger，因此以下文字（＆＃39;显示更多＆＃39;按钮）会在文字旁边流动。
display: none .read-more-target因此不会妨碍“更多”按钮流动（你可能会找到其他方法来实现这一点）。在显示文本时（例如在display: inline选择器中），请不要忘记将其设置回.read-more-state:checked ~ .read-more-wrap .read-more-target。
修改：此外，您可能希望将<br />代码移至span类read-more-target内。