Use the attached photograph as the primary governing reference. Recreate its structure exactly without reinterpreting it.

This is a portrait-photographic dominant-figure cover. One seated woman occupies approximately 80% of canvas height and is the sole recognition anchor. The composition is a three-quarter wide shot showing the full figure from head to foot, seated slightly left of center, with the desk, microphone and studio environment filling the right half and background.

Square 1:1 composition, 3000 × 3000 pixels, sRGB. Artwork fills the full canvas edge to edge. No device frame, no mockup, no rounded corners, no border.

Background system constructed bottom upward.

Base layer is a continuous-tone photographic warm wood-panelled podcast studio interior. The rear wall is entirely covered in vertical medium-warm walnut wood panelling with visible wood grain texture running full width and full height. A single long horizontal floating open shelf sits at approximately 15–25% canvas height, spanning from the left edge to approximately 75% canvas width. On this shelf from left to right: a stack of several books with dark spines at the far left (0–20% width, 10–24% height); two framed white-background art print objects standing upright side by side at approximately 20–42% width, 11–23% height with readable but softly defocused dark text on white ground; a small decorative golden/dried floral arrangement at approximately 15–25% width, 20–28% height; and a warm-toned practical table lamp with a cylindrical shade at approximately 58–68% width, 12–25% height producing strong warm amber light bloom. The shelf has no backing — the wood wall is visible above and below it. Below the shelf down to approximately 55% canvas height is open walnut wood wall. Below 55% canvas height a lower cabinet or built-in unit runs across the lower background width at approximately 0–65% width, 55–70% height, same warm walnut wood finish.

Apply rear-background depth-of-field softening across the shelf contents, wall surface, cabinet faces and all background objects. Blur radius approximately 2–4% canvas width in far-background regions. The blur softens detail while preserving colour shape and broad object silhouettes. This is optical camera depth-of-field, not a hard compositing mask.

The right side of the background from approximately 68–100% width, 0–75% height contains a dark vertical metal structure or light stand, a second smaller practical lamp at approximately 70–80% width, 35–48% height producing a soft downward amber warm bloom, and a dense cluster of warm white and amber bokeh string/fairy lights filling approximately 75–100% width, 15–65% height. These fairy lights render as soft glowing circular bokeh dots of varying sizes against the dark right-side void, not as individual wires. The dark void region occupies approximately 68–100% width, 0–60% height as the base behind the fairy lights and metal structure.

Apply a warm amber-brown global colour grade at 15–25% strength across the full canvas. This pulls all wood, skin, blouse and desk surfaces toward warm amber-tan values. Near-black values in hair, trousers, and microphone are retained. Palette temperature remains warm-dominant throughout.

Apply a local skin and highlight lift at 10–20% strength concentrated on the face, cheekbones, forehead, nose bridge, lips, décolletage, satin blouse surface and right hand. Render as photographic key-light from a large softbox above and slightly forward of the figure.

Apply moderate practical-light warm amber-cream bloom radiating from the practical table lamp at 58–68% width, 12–25% height, from the smaller right-side lamp at 70–80% width, 35–48% height, and diffused warm light emanating from the fairy-light cluster on the right. Bloom colour is warm golden amber

#F4C878, spread approximately 1–2% canvas width from each source.

Apply peripheral luminance falloff vignette at 15–25% strength, strongest at outer 8–12% of each edge. Vignette colour is near-black warm brown

#0D0B08. Irregular edge-hugging photographic falloff, not a centred radial. Corner luminosity targets: top-left ≈18 (dark wood wall and shelf shadow), top-right ≈85 (large studio softbox visible at top-right corner), bottom-left ≈35 (warm rug and floor), bottom-right ≈8 (deep foreground shadow beneath desk). Non-symmetrical by design.

One large rectangular studio softbox is visible at the top-right corner of the frame at approximately 65–100% width, 0–10% height. It reads as a bright rectangular physical light panel, part of the photographed production equipment. Render it as a real object in the scene, not as a UI element.

Primary visual element — figure.

One seated woman occupies approximately 8–95% width, 15–100% height. Full-colour photographic figure. No cutout, no mask, no edge treatment beyond natural photographic edges. Treatment chain: full-colour photography, warm colour grade applied, natural skin tones retained, optical background separation maintained. No duotone, no halftone, no painterly rendering, no graphic overlay on figure, no artificial glow, no cutout drop shadow.

Pose — this must be exact.

The woman is seated on a low-profile grey upholstered swivel/studio chair with no visible high backrest behind her torso. Her body is turned approximately 30–35 degrees to her left, facing slightly toward the camera but with her torso angled so her right shoulder is closer to camera than her left. Her legs are crossed: her right leg is crossed over her left at the knee, with both legs angled toward the right side of the frame. Her right foot in a black pointed-toe heel shoe extends toward the lower-right of the frame and nearly reaches the bottom edge of the canvas at approximately 70–90% width, 92–100% height.

Her right arm is raised with the elbow bent, the forearm angled upward at approximately 45 degrees, and her right hand held near her upper chest and chin area at approximately 38–50% width, 40–50% height. She holds a slim near-black pen between her fingers with the pen oriented diagonally upward at approximately 30–40 degrees from horizontal, tip pointing upward-left. Her fingers are relaxed around the pen with dark-polished nails visible.

Her left arm hangs naturally down and slightly forward, with her left hand resting open and relaxed on her left thigh at approximately 28–42% width, 62–72% height. Her left hand is not on the desk. The desk is to her right side and slightly behind her position — she is not leaning on it. Her right elbow does not rest on the desk either. She sits upright with a straight back, not leaning forward.

Her head is upright with a very slight tilt to her right. Her gaze is directed toward the camera with a natural soft expression, lips slightly parted in a relaxed conversational expression — not a full smile, not closed. She appears engaged and mid-conversation.

She wears: a cream/champagne satin blouse with a V-neckline, puffed shoulders tapering to fitted long sleeves with button cuffs, visible fabric sheen and drape. The blouse colour is warm cream-beige

#DECDB6 in highlights and

#B5957B in shadow areas. She wears fitted straight-cut black trousers, high-waisted with a visible gold-toned rectangular belt buckle at approximately 40–52% width, 56–62% height. Black pointed-toe low-block-heel shoes. Gold hoop earrings at approximately 33–37% width, 29–33% height. Layered gold necklace chains visible at neckline. A thin horizontal gold bar or clip ornament is visible at the blouse chest area at approximately 40–48% width, 50–54% height.

Her hair is long, dark near-black, naturally wavy and voluminous, falling over both shoulders with the larger mass falling over her right shoulder and chest area. Hair occupies approximately 24–64% width, 20–58% height. Individual wave boundaries and highlight strands are preserved — no silhouette simplification.

Face bounding box approximately 33–55% width, 22–40% height. Face centre approximately (43%, 31%). Head and full hair mass approximately 22–64% width, 18–58% height.

Microphone and boom arm — exact geometry.

The microphone is a large cylindrical broadcast dynamic microphone, charcoal near-black

#141311, matte-satin metal body. It is mounted on a black articulated boom arm. The boom arm enters from the upper-right area at approximately 72–100% width, 28–38% height and curves downward and to the left. The microphone itself hangs at the end of the boom and is oriented so its capsule/grille end points downward-left, aimed directly toward the woman's mouth and chin area. The microphone body occupies approximately 55–72% width, 36–54% height. The microphone is positioned to the right of her face and angled so it points at her from above-right. A small narrow red band with white micro-markings is visible on the boom arm near the microphone mount at approximately 65–72% width, 34–38% height. Microphone body height approximately 18% of canvas height. The boom arm cable exits upward-right and disappears off the right edge.

Desk — partial view only.

The desk is a warm medium-brown wood surface visible only in the right portion of the frame. The desk occupies approximately 55–100% width, 60–80% height. Only the left edge and surface of the desk are visible — the desk does not span the full canvas width and the full desk surface is not shown. The desk's left-facing edge is visible as a diagonal line from approximately (55%, 60%) to (60%, 80%). On the desk surface: a closed laptop or notebook at approximately 58–75% width, 61–68% height; a clear glass of water at approximately 78–88% width, 58–68% height; a white ceramic cup and saucer with a warm latte inside and a visible red lip-print mark on the cup rim at approximately 80–95% width, 65–76% height; a gold-toned metallic spherical or decorative desk object at approximately 72–82% width, 56–64% height. All desk objects are environmental detail subordinate to the portrait. The lower portion of the desk and any cable management below the desk surface is partially visible at approximately 75–95% width, 78–92% height with a loose dark cable visible on the floor.

A warm-toned cream/beige area rug is visible at the bottom of the frame at approximately 0–70% width, 88–100% height.

Surface finish.

The surface carries no added film grain, no digital noise, no paper tooth, no halftone, no scanlines, no distress, no chromatic aberration, and no geometric decorative overlay. Specular highlights appear as small natural photographic accents on the glass, gold desk object, jewellery, cheekbone, and satin blouse — not graphic glow.

Typography.

There is no separately designed primary title anywhere on this canvas. Title cap-height is 0% of canvas height. Render no title text, no show name, no episode label, no host name, no tagline.

The only readable photographed environmental text is the partial glowing word UNFILTER — spelled U-N-F-I-L-T-E-R, eight characters, one horizontal line — rendered in bold extrabold uppercase geometric-grotesque sans letterforms as a physical illuminated sign mounted on the rear left wall. It sits at approximately 3–33% width, 33–39% height, optical centre approximately (17%, 36%). Verify that spelling character by character before rendering. The letters beyond the visible R are occluded by the figure's hair mass at the right — do not complete or extend the word. The sign reads as warm ivory-cream self-illuminated neon or LED lettering, core fill

#FFF0C2 luminosity ≈92–97, with warm amber-cream physical bloom radiating approximately 1–1.5% canvas width from each letterform. Wall behind the sign is warm walnut brown luminosity ≈20–28. Luminosity delta ≈65–72, HIGH. Cap-height of these photographed letters approximately 4–5% canvas height. No outline, no drop shadow on the letters. Partial right-side occlusion by hair must be preserved — do not reposition this text or make it fully visible.

All other shelf objects with text (book spines, framed prints, stacked books) are defocused and intentionally unreadable. Render them with correct colour shapes and no readable characters. Do not invent words on any object.

Closed palette — 12 photographic control colours.

#0D0B08 near-black hair/trousers/shadow,

#2F2012 dark walnut background,

#492C14 walnut midtone wall/shelf,

#604026 medium chestnut desk wood,

#DECDB6 cream satin blouse highlight,

#B5957B taupe blouse shadow/fold,

#D8A07E warm skin highlight,

#9C7555 skin midtone,

#FFF0C2 illuminated UNFILTER lettering,

#F4C878 practical-light amber/fairy bokeh,

#141311 microphone charcoal,

#75685C warm rug/floor neutral. Continuous photographic tonal interpolation within these families. No additional hue families introduced. Deep walnut and near-black regions must not be lifted toward mid-grey. Warm amber lighting must not be neutralised.

Layout and reading order.

Compositional primary axis at x≈42%. Figure occupies left-centre. Desk and microphone counterweight at right. Reading order: face first driven by skin luminosity against dark hair and warm background; microphone second as large dark form angled toward the face from upper right; raised right hand with pen third as isolated gesture near chin; UNFILTER illuminated lettering fourth as highest luminosity accent in the mid-left background; fairy-light bokeh cluster fifth as warm ambient texture at right. Negative space approximately 12–16%, largest pooled regions at upper-left wood wall above shelf and upper-right behind softbox. All four canvas edges are bled by photographic scene elements — figure, rug, desk, boom arm, shelf, softbox reach or cross every edge. Face is safely above 20% from top edge and at least 25% from left edge.

At 55 pixels wide this cover must read as: a dark-haired woman in a cream blouse seated at a microphone in a warm amber brown recording studio. Face and cream torso silhouette remain the primary recognition shapes. The microphone reads as a dark cylinder angled toward the face. The UNFILTER sign collapses to a warm horizontal luminous band — character-level reading is not required at this scale. Fairy-light bokeh collapses to a warm glowing region at right. All fine jewellery, pen, desk objects and shelf detail may collapse to colour mass at 55 pixels.

Genre register is interview and conversation carried by the large broadcast microphone aimed at the presenter's mouth, the direct camera-facing gaze, and the warm professional studio environment. Secondary register is culture and lifestyle carried by the cream satin blouse, gold jewellery, and personality-led portrait dominance. Brand personality is premium-restrained: warm-dark walnut dominant, controlled practical lighting, low graphic overlay count, limited hue families.

Preserve the identity and likeness of the depicted person exactly as shown in the reference photograph. Palette is closed. No readable text beyond UNFILTER fragment as described. Surface is full-colour photographic — no illustrative, graphic, or dimensional conversion. Lower 8% of canvas carries only foot, rug and floor shadow — no critical information placed there.

Use the attached photograph as the primary governing reference. Recreate its structure exactly without reinterpreting it.

This is a portrait-photographic dominant-figure cover. One seated woman occupies approximately 80% of canvas height and is the sole recognition anchor. The composition is a three-quarter wide shot showing the full figure from head to foot, seated slightly left of center, with the desk, microphone and studio environment filling the right half and background.

Square 1:1 composition, 3000 × 3000 pixels, sRGB. Artwork fills the full canvas edge to edge. No device frame, no mockup, no rounded corners, no border.

Background system constructed bottom upward.

Base layer is a continuous-tone photographic warm wood-panelled podcast studio interior. The rear wall is entirely covered in vertical medium-warm walnut wood panelling with visible wood grain texture running full width and full height. A single long horizontal floating open shelf sits at approximately 15–25% canvas height, spanning from the left edge to approximately 75% canvas width. On this shelf from left to right: a stack of several books with dark spines at the far left (0–20% width, 10–24% height); two framed white-background art print objects standing upright side by side at approximately 20–42% width, 11–23% height with readable but softly defocused dark text on white ground; a small decorative golden/dried floral arrangement at approximately 15–25% width, 20–28% height; and a warm-toned practical table lamp with a cylindrical shade at approximately 58–68% width, 12–25% height producing strong warm amber light bloom. The shelf has no backing — the wood wall is visible above and below it. Below the shelf down to approximately 55% canvas height is open walnut wood wall. Below 55% canvas height a lower cabinet or built-in unit runs across the lower background width at approximately 0–65% width, 55–70% height, same warm walnut wood finish.

Apply rear-background depth-of-field softening across the shelf contents, wall surface, cabinet faces and all background objects. Blur radius approximately 2–4% canvas width in far-background regions. The blur softens detail while preserving colour shape and broad object silhouettes. This is optical camera depth-of-field, not a hard compositing mask.

The right side of the background from approximately 68–100% width, 0–75% height contains a dark vertical metal structure or light stand, a second smaller practical lamp at approximately 70–80% width, 35–48% height producing a soft downward amber warm bloom, and a dense cluster of warm white and amber bokeh string/fairy lights filling approximately 75–100% width, 15–65% height. These fairy lights render as soft glowing circular bokeh dots of varying sizes against the dark right-side void, not as individual wires. The dark void region occupies approximately 68–100% width, 0–60% height as the base behind the fairy lights and metal structure.

Apply a warm amber-brown global colour grade at 15–25% strength across the full canvas. This pulls all wood, skin, blouse and desk surfaces toward warm amber-tan values. Near-black values in hair, trousers, and microphone are retained. Palette temperature remains warm-dominant throughout.

Apply a local skin and highlight lift at 10–20% strength concentrated on the face, cheekbones, forehead, nose bridge, lips, décolletage, satin blouse surface and right hand. Render as photographic key-light from a large softbox above and slightly forward of the figure.

Apply moderate practical-light warm amber-cream bloom radiating from the practical table lamp at 58–68% width, 12–25% height, from the smaller right-side lamp at 70–80% width, 35–48% height, and diffused warm light emanating from the fairy-light cluster on the right. Bloom colour is warm golden amber

#F4C878, spread approximately 1–2% canvas width from each source.

Apply peripheral luminance falloff vignette at 15–25% strength, strongest at outer 8–12% of each edge. Vignette colour is near-black warm brown

#0D0B08. Irregular edge-hugging photographic falloff, not a centred radial. Corner luminosity targets: top-left ≈18 (dark wood wall and shelf shadow), top-right ≈85 (large studio softbox visible at top-right corner), bottom-left ≈35 (warm rug and floor), bottom-right ≈8 (deep foreground shadow beneath desk). Non-symmetrical by design.

One large rectangular studio softbox is visible at the top-right corner of the frame at approximately 65–100% width, 0–10% height. It reads as a bright rectangular physical light panel, part of the photographed production equipment. Render it as a real object in the scene, not as a UI element.

Primary visual element — figure.

One seated woman occupies approximately 8–95% width, 15–100% height. Full-colour photographic figure. No cutout, no mask, no edge treatment beyond natural photographic edges. Treatment chain: full-colour photography, warm colour grade applied, natural skin tones retained, optical background separation maintained. No duotone, no halftone, no painterly rendering, no graphic overlay on figure, no artificial glow, no cutout drop shadow.

Pose — this must be exact.

The woman is seated on a low-profile grey upholstered swivel/studio chair with no visible high backrest behind her torso. Her body is turned approximately 30–35 degrees to her left, facing slightly toward the camera but with her torso angled so her right shoulder is closer to camera than her left. Her legs are crossed: her right leg is crossed over her left at the knee, with both legs angled toward the right side of the frame. Her right foot in a black pointed-toe heel shoe extends toward the lower-right of the frame and nearly reaches the bottom edge of the canvas at approximately 70–90% width, 92–100% height.

Her right arm is raised with the elbow bent, the forearm angled upward at approximately 45 degrees, and her right hand held near her upper chest and chin area at approximately 38–50% width, 40–50% height. She holds a slim near-black pen between her fingers with the pen oriented diagonally upward at approximately 30–40 degrees from horizontal, tip pointing upward-left. Her fingers are relaxed around the pen with dark-polished nails visible.

Her left arm hangs naturally down and slightly forward, with her left hand resting open and relaxed on her left thigh at approximately 28–42% width, 62–72% height. Her left hand is not on the desk. The desk is to her right side and slightly behind her position — she is not leaning on it. Her right elbow does not rest on the desk either. She sits upright with a straight back, not leaning forward.

Her head is upright with a very slight tilt to her right. Her gaze is directed toward the camera with a natural soft expression, lips slightly parted in a relaxed conversational expression — not a full smile, not closed. She appears engaged and mid-conversation.

She wears: a cream/champagne satin blouse with a V-neckline, puffed shoulders tapering to fitted long sleeves with button cuffs, visible fabric sheen and drape. The blouse colour is warm cream-beige

#DECDB6 in highlights and

#B5957B in shadow areas. She wears fitted straight-cut black trousers, high-waisted with a visible gold-toned rectangular belt buckle at approximately 40–52% width, 56–62% height. Black pointed-toe low-block-heel shoes. Gold hoop earrings at approximately 33–37% width, 29–33% height. Layered gold necklace chains visible at neckline. A thin horizontal gold bar or clip ornament is visible at the blouse chest area at approximately 40–48% width, 50–54% height.

Her hair is long, dark near-black, naturally wavy and voluminous, falling over both shoulders with the larger mass falling over her right shoulder and chest area. Hair occupies approximately 24–64% width, 20–58% height. Individual wave boundaries and highlight strands are preserved — no silhouette simplification.

Face bounding box approximately 33–55% width, 22–40% height. Face centre approximately (43%, 31%). Head and full hair mass approximately 22–64% width, 18–58% height.

Microphone and boom arm — exact geometry.

The microphone is a large cylindrical broadcast dynamic microphone, charcoal near-black

#141311, matte-satin metal body. It is mounted on a black articulated boom arm. The boom arm enters from the upper-right area at approximately 72–100% width, 28–38% height and curves downward and to the left. The microphone itself hangs at the end of the boom and is oriented so its capsule/grille end points downward-left, aimed directly toward the woman's mouth and chin area. The microphone body occupies approximately 55–72% width, 36–54% height. The microphone is positioned to the right of her face and angled so it points at her from above-right. A small narrow red band with white micro-markings is visible on the boom arm near the microphone mount at approximately 65–72% width, 34–38% height. Microphone body height approximately 18% of canvas height. The boom arm cable exits upward-right and disappears off the right edge.

Desk — partial view only.

The desk is a warm medium-brown wood surface visible only in the right portion of the frame. The desk occupies approximately 55–100% width, 60–80% height. Only the left edge and surface of the desk are visible — the desk does not span the full canvas width and the full desk surface is not shown. The desk's left-facing edge is visible as a diagonal line from approximately (55%, 60%) to (60%, 80%). On the desk surface: a closed laptop or notebook at approximately 58–75% width, 61–68% height; a clear glass of water at approximately 78–88% width, 58–68% height; a white ceramic cup and saucer with a warm latte inside and a visible red lip-print mark on the cup rim at approximately 80–95% width, 65–76% height; a gold-toned metallic spherical or decorative desk object at approximately 72–82% width, 56–64% height. All desk objects are environmental detail subordinate to the portrait. The lower portion of the desk and any cable management below the desk surface is partially visible at approximately 75–95% width, 78–92% height with a loose dark cable visible on the floor.

A warm-toned cream/beige area rug is visible at the bottom of the frame at approximately 0–70% width, 88–100% height.

Surface finish.

The surface carries no added film grain, no digital noise, no paper tooth, no halftone, no scanlines, no distress, no chromatic aberration, and no geometric decorative overlay. Specular highlights appear as small natural photographic accents on the glass, gold desk object, jewellery, cheekbone, and satin blouse — not graphic glow.

Typography.

There is no separately designed primary title anywhere on this canvas. Title cap-height is 0% of canvas height. Render no title text, no show name, no episode label, no host name, no tagline.

The only readable photographed environmental text is the partial glowing word UNFILTER — spelled U-N-F-I-L-T-E-R, eight characters, one horizontal line — rendered in bold extrabold uppercase geometric-grotesque sans letterforms as a physical illuminated sign mounted on the rear left wall. It sits at approximately 3–33% width, 33–39% height, optical centre approximately (17%, 36%). Verify that spelling character by character before rendering. The letters beyond the visible R are occluded by the figure's hair mass at the right — do not complete or extend the word. The sign reads as warm ivory-cream self-illuminated neon or LED lettering, core fill

#FFF0C2 luminosity ≈92–97, with warm amber-cream physical bloom radiating approximately 1–1.5% canvas width from each letterform. Wall behind the sign is warm walnut brown luminosity ≈20–28. Luminosity delta ≈65–72, HIGH. Cap-height of these photographed letters approximately 4–5% canvas height. No outline, no drop shadow on the letters. Partial right-side occlusion by hair must be preserved — do not reposition this text or make it fully visible.

All other shelf objects with text (book spines, framed prints, stacked books) are defocused and intentionally unreadable. Render them with correct colour shapes and no readable characters. Do not invent words on any object.

Closed palette — 12 photographic control colours.

#0D0B08 near-black hair/trousers/shadow,

#2F2012 dark walnut background,

#492C14 walnut midtone wall/shelf,

#604026 medium chestnut desk wood,

#DECDB6 cream satin blouse highlight,

#B5957B taupe blouse shadow/fold,

#D8A07E warm skin highlight,

#9C7555 skin midtone,

#FFF0C2 illuminated UNFILTER lettering,

#F4C878 practical-light amber/fairy bokeh,

#141311 microphone charcoal,

#75685C warm rug/floor neutral. Continuous photographic tonal interpolation within these families. No additional hue families introduced. Deep walnut and near-black regions must not be lifted toward mid-grey. Warm amber lighting must not be neutralised.

Layout and reading order.

Compositional primary axis at x≈42%. Figure occupies left-centre. Desk and microphone counterweight at right. Reading order: face first driven by skin luminosity against dark hair and warm background; microphone second as large dark form angled toward the face from upper right; raised right hand with pen third as isolated gesture near chin; UNFILTER illuminated lettering fourth as highest luminosity accent in the mid-left background; fairy-light bokeh cluster fifth as warm ambient texture at right. Negative space approximately 12–16%, largest pooled regions at upper-left wood wall above shelf and upper-right behind softbox. All four canvas edges are bled by photographic scene elements — figure, rug, desk, boom arm, shelf, softbox reach or cross every edge. Face is safely above 20% from top edge and at least 25% from left edge.

At 55 pixels wide this cover must read as: a dark-haired woman in a cream blouse seated at a microphone in a warm amber brown recording studio. Face and cream torso silhouette remain the primary recognition shapes. The microphone reads as a dark cylinder angled toward the face. The UNFILTER sign collapses to a warm horizontal luminous band — character-level reading is not required at this scale. Fairy-light bokeh collapses to a warm glowing region at right. All fine jewellery, pen, desk objects and shelf detail may collapse to colour mass at 55 pixels.

Genre register is interview and conversation carried by the large broadcast microphone aimed at the presenter's mouth, the direct camera-facing gaze, and the warm professional studio environment. Secondary register is culture and lifestyle carried by the cream satin blouse, gold jewellery, and personality-led portrait dominance. Brand personality is premium-restrained: warm-dark walnut dominant, controlled practical lighting, low graphic overlay count, limited hue families.

Preserve the identity and likeness of the depicted person exactly as shown in the reference photograph. Palette is closed. No readable text beyond UNFILTER fragment as described. Surface is full-colour photographic — no illustrative, graphic, or dimensional conversion. Lower 8% of canvas carries only foot, rug and floor shadow — no critical information placed there.